Skip to main content

Full text of "Starlog Magazine Issue 124"

See other formats






$3.95 U.S. 

r #124 






1 1 




"A new film ft-om John Carpenter, master of terror and suspense 



Before man walked 
the earth . . . 
It slept for centuries. 
It is evil, it is real. 
It is awakening. 












*33e8Spec. ed. 
Club ed 56.98 

A 1065 Pub edS1Z95 
Clubed S598 

3673 Pub ed. $19.95 

3558 Pub ed. S17.95 

1420 Includes the 

3418 The Ladies 

* 2345 The Moireni 

3640 The Awalieners: 

5520 The Sleeping 

Club ed. $4.98 

First, Secoim. and 

of Mandrigyn; 

of the Magician: 


Third Books. 

The Witches 

The Paths of the 

The Awalieners: 

Spec. ed. A 

of Wenshar. 



The Silver Crown. 

Clubed. $7.98 

Spec. ed. A 

The Time of 

Comb Pub. 

Spec, ed A 

Club ed. $7.50 

the Transference. 

Spec ed. A 
Club ed. S798 

ed. S30.90 
Club ed. $6.98 

Club ed. $8.98 

Take any 5 books for ^1 

0075 The First 5 

0992 Dragonsong: 

3509 r«lyth'ing 

Amber Novels. 



2 vols. Comb pub 

Dragondrums. Comb 

Little Myth Mariier 

ed. $32.30 

put), ed. $38.85 

M.Y.T.H. Inc. Link. 

Club ed. $8.98 

Club ed. S7.98 

Spec. ed. A 
Club ed. $6.98 

YOURS free! 

with \ 
50 full-color V 
art by 
Boris Vallejo 


You'll receive your choice of ANY 5 BOOKS SHOWN FOR 
ONLY S1 (plus shipping and handling) and 50 FREE 
BOOKPLATES after your application for membership is 
accepted. We reserve the right to reject any application. 
Hov»ever, once accepted as a member, you may examine 
the books in your home and, if not completely satisfied, 
return them within 10 days at Club expense. Your 
membership will be cancelled and you'll owe nothing. 
The FREE BOOKPLATES will be yours to keep whether or 
not you remain a member 

About every 4 weeks (14 times a year), we'll send you the 
Club's bulletin, Things to Come, describing the 2 coming 
Selections and a variety of Alternate choices. In addition, 
up to 4 times a year you may receive offers of special 
Selections, always at low Ciub prices. If you want the 2 
Selections, you need do nothing; they'll be shipped 
automatically. If you don't want a Selection, prefer an 
Alternate, or no book at all , just fill out the conveniept form 
always provided and return it to us by the date specified. 

We allow you at least 10 days for making your decision. 
If you do not receive the form in time to respond within 
10 days, and receive an unwanted Selection, you may 
return it at our expense. 

As a member you need buy only 4 books at regular low 
Club prices during the coming year. You may resign any 
time thereafter or continue to enjoy Club benefits for as 
long as you wish. One of the 2 Selections each month is 
only $4.98. Other Selections are higher, but always much 
less than hardcover publishers' editions— UP TO 65% OFF. 
The Club offers more than 400 books to choose from. 
Each volume printed on our special presses is produced 
on high-quality acid-free paper A shipping and handling 
charge is added to all shipments. 
Send no money now. Just mall the coupon todayl 

AEitlutivg hinlcover edition. 

« Eipiiell uanes intf/of languaga may Be otlentive to tome 

tCopyright i 19S6 Panmount Pielure Corporation. 

All Rightt Reaened. STAR TREK it a Raglttend Indetnark o1 

Paramount PIcturet Corporation. 

with membership 



I Dept. CS-962, Garden City, NY 1 1 535 

□ YES, I want the galaxy's greatest selection of SF! Please ac- 
cept my application for membership in the Science Fiction Book 
"I Club. Send me the 5 BOOKS whose numbers I have indicated in the 
boxes below p/us my FREE BOOKPLATES and bill me just SI (plus 
I shipping and handling), i agree to the Club Plan as described in this 
I ad. I will take 4 more books at regular low Club prices in the coming 
I year and may resign any time thereafter. The FREE BOOKPLATES 
I will be mine to keep whether or not I remain a member. SFBC offers 
I serious works for mature readers 


I Address. 
I City 

(Please print) 

_Apt. I 

. State . 


I If under 18. parent must sign. 

I The Science Fiction Book Club offers its own complete hardbound editions 

. sometimes altered in size to fit special presses and save you even more. 

I Members accepted in U.S.A. and Canada only. Canadian members will be 

I serviced from Canada. Offer slightly different in Canada. 04-S053 i 

Vernon Wells— Page 60 



L. Sprague de Camp celebrates 50 
years writing SF & fantasy 



This batch of puppet heroes may 
have lost their battle against 
alien Invaders 


Hollywood veteran Lee Sholem 
remembers George Reeves' flight 



A mind exchange between 
Dudley Moore & Kirk Cameron 
marks the return of 
"Turnabouf'-style farce 


She's the high school heroine of 
"Masters of the Universe" 


The one-time Boy Wonder looks 
back at the days of capes and 
long underwear 


As the only girl among "The Lost 
Boys" & "Solarbabies," this actress 
just wants something to do 

Star Trek— Page 46 


As wez, he dueled Mad Max; as 
Igoe, he shrunk his big badness 
down to "innerspace ' size 


"■!^?iWl^l^S^AeE" INVASION 
Was the nasty guy in Joe Dante's 
latest the real McCarthy or an evil 
pod twin? You decide 


If Jeroen Krabbe couldn't be 
James Bond, he wanted to knock 
"The Living Daylights " out of 007 


There's water, water nowhere in 
this post-apocalyptic western 
about guns & books 


"Whatdunnit?" Is the question in 
"Nightflyers, " an eerie outer 
space murder mystery 


A final interview with lan Marter, 
companion of "Dr. Who" 


Host/director John Newland 
examines his psychic TV accounts 


A complete index to the 
supernatural series 

Jami Gertz— Page 58 






He wrote the piJot script that 
sold "Star Trek" 


This "Trek" director is going 
ahead boldly with "Earth* Star 


After he was Kirk's best friend, 
this actor took the ultimate trip 
in "2001: A Space Odyssey" 


In the far-off future, there's a 
new crew of heroes to soar in a 
new "Enterprise" 



Gene Roddenberry, miracle 


Martin Caidin challenged 


Saavik, T'Pau & Pee-wee Herman 




STARLOC is pubrished monthly by OQUINN STUDIOS, inc., 475 Park Avenue South, New York, N.Y. 10016. STARLOC is a registered trademark of o Quinn Studios, Inc. 

(ISSN 0191-4626) This is issue Number 124, November 1987 (Volume Eleven), content is \ Copyright 1987 by OQUiNN STUDIOS, inc. All rights reserved. Reprint or 
reproduction in part or in whole without the publishers written permission is strictly forbidden. STARLOC accepts no responsibility for unsolicited manuscripts, 
photos, art, or other materials, but if freelance submittals are accompanied by a self-addressed, stamped envelope, they will be seriously considered and, if 
necessary, returned. Products advertised are not necessarily endorsed by STARLOC, and any views expressed in editorial copy are not necessarily those of 
STARLOC. Second class postage paid at New York, NY and additional mailing offices, subscription rates: S27.99 one year (12 issues) delivered in U.S. and Canada, 
foreign subscriptions S36.99 in U.S. funds only. New subscriptions send directly to STARLOC, 475 Park Avenue South, New York NY 10016. Notification of cliange 
Of address or renewals send to STARLOG Subscription Dept., P.O. Box 132, Mt. Morris, IL 61054-0152. POSTMASTER: send change of address to STARLOC Subscrip- 
tion Dept, P.O. BOX 132, Mt Morris, IL 61054-0132. Printed in U.S.A. 

'^^ If you're into horror, 0' 
this is the ONE volume you 

must have 

IhB COMPLETE word-and-picture sourcebook • Coverage in 
depth: 1,300 films from every period, every country 

This new all-in-one Encyclopedia of Horror Movies measures 
up to Phil Hardy's exacting staJidards for fUm reference 
volumes. . . 

• ENCYCLOPEDIC IN SCOPE. From 1896 thru 1985: sUent and 
sound, U.S. and foreign 

• EASY TO USE. Films arranged by year, then alphabetically 
within each year. Extra help: abundant cross-references 

• COVERAGE IN DEPTH. Entries on each film typically run from 
a hundred to a thousand words 

• STATISTICAL OVERVIEW. By far the most comprehensive 
ever published on the horror genre 

Any volume that lays claim to be the definitive reference must never 
skimp or stint. How does this one measure up? Judge for yourself. . . 


in stores. 
Yours for 

'^only $-1. 

• 1,300 films — all fuUy researched with plots, major cast 
(usually at least six, often many more), director, producer, 
writer, cinematographer, etc. PLUS studio, critical comment, 
background data 

• Bloodcurdling 16-page section in lurid color: 45 photos 

• Vast photo gallery: 435 black-and-whites 

• Giant in size: 424 huge 9x11% pages. Weighs 4'/2 pounds! 

• Printed thruout on good stock for superior photo reproduc- 
tion. (16-page full-color section printed on extra-heavy super- 
glossy stock) 

• Index — over 2,700 entries! 

• Bibliography 

• EXTRA! Something you could pay several dollars for, all by 
itself: endpapers reproducing famous and obscure horror 
posters — all in full color! 

How to save $33.11 on Phil Hardy's definitive Encyclopedia of Horror Movies 

How tbe Chib Woriu 

Every 4 weeb (13 times a year) you get a free copy of the Oub bulletin, PREVIEWS, 
which offers the Featured Selection plus a nice choice of Alternates: books on films, TV, 
music, occasionally records and videocassettes. * If you want the Feamred Selection, do 
nothing. It will come automatically. * If you don't want the Featured Selecdon or you do 
want an Alternate, indicate your wishes on the handy card enclosed and laum It by the 
deadline date. • The majority of Club books are offered at 20-30<fo discounts, plus a 
charge for shipping and handling. •* As soon as you buy and pay for 4 books, records or 
videocassettes at regular Club prices, your membership may be ended at any dme, eidier 
by you or by the Club. • If you ever receive a Featured Selection without having had 10 
days to decide if you want it, you may lewm it at Club expense for lull credit. ♦ For 
every book, record or videocassetle you buy at r^ar Club price, you receive one or more 
Bonus Book CerdlicatK. These entide you to buy many Club books at deep discounts, 
usually 60-80% off. These Bonus Books do not count wward liilfilling your Qub obliga- 
uon but do enable you to buy fine books at giveaway prices. • PREVIEWS also includes 
news about members and dieir hobbies. You are welcome to send in similar items. The 
[_Club will publish any such item it deems suitable, FREE. This is a real CLUB! 
k* Good service. No computers! • Only one membership per household. 

&••& CLiB 

15 Oakland Avenue • Harrison, NY 10528 

I enclose my check for $1.39. Please send me, at no additional cost, the $34.50 
Emychpedia of Horror Movies , edited by Phil Hardy. At the same time please 
accept my membership in the Movie/Entertainment Book Qub. I agree to buy 4 
additional books, records or videocassettes at regular Qub prices over the next 2 
yeaij. I also agree to the Qub rules spelled out in this coupon. S L G - 6 




State Zip 

NOVEMBER 1987 #124 

Business and Editorial Offices: 
O'Ouinn studios, inc. 

475 Park Avenue South 
New York, NY 10016 



Associate Publisher 


Assistant Publisher 

V.P., Circulation Director 

Creative Director 




Managing Editor 


Special Effects Editor 


Art Director 

Associate Art Director 


Assistant Art Director 

Senior Correspondent 


West coast Correspondent 

British Correspondent 


Contributing Editors 




Art Staff 


Financial Director 


Marketing Director 


Production Assistants: Steve Jacobs, Maria 
Damiani, Peter Hernandez, Robert Reset, Jr., Diane 
Sguazzo, Natalie Pinnlks, James lannazzo, Paul 

correspondents: (LA) Mike Clark, Bill cotter, 
Jean-Marc Lofficier, Randy Lofficier, Brian Lowry, 
William Rabkin, Marc Shapiro; (NY) Robert 
Greenberger, Edward Gross, Patrick Daniel O'Neill; 
(Chicago) Jean Alrey, kim Howard Johnson; 
(Boston) Will Murray; (Washington, DC) John Sayers; 
(San Francisco) Eric Niderost; (Ohio) Laurie 

Contributors: Sayed Adyani, Gerry Anderson, 
Richard Arnold, Marina Bailey, Leonard Bruce, 
Mark Alan Cantrell, kyle counts, L. Sprague de 
Camp, Joel Eisner, Alison Eller, Chris Ender, Terry 
Erdmann, Christina Ferguson, Michael Finnegan, 
Mike Finnell, Mike Fisher, Fritz Friedman, David 
Gerrold, Fran Gianni, Richard Gilbert, Mike Clyer, 
Howard Green, Julie Guze, Jessie Horsting, Karine 
Jaret, Allyson kossow, Tanya Lamelle, Francis Mao, 
John Mccarty, Marina Mitrlone, Melinda Mullen, 
John Newland, R.S. Sean O'Halloran, Tom Phillips, 
David Restivo, Maryann Ridini, Gene Roddenberry, 
Steve Rubin, Leah Rosenthal, Jeff Sakson, Paul 
Sammon, Julius Schwartz, Cindy Schneider, Lee 
Sholem, Nina Stern, Deborah Upton, Jeff Walker, 
Burt ward. Bill Warren, John wentworth, Adam 

Photos: Next Generation: kim Gottlieb- 
walker/copyright 1987 Paramount Pictures 

For Advertising information: 

(212) 689-2S30 

Advertising Director: Rita Eisenstein 

Classified Ads Manager: Connie Bartlett 

For West Coast Advertising Sales: Jim 

Reynolds, Reynolds & Associates (213) 549-6287 


Miracle worker? 

Ten years ago — just a few months after we launched STARLOG, but long 
before we knew that it would find its audience — this column began with these 

"Starting a new magazine is a little like performing a trapeze act in pitch blackness. 
You do everything as well as you possibly can and hope with all your life that 
somebody else is out there in the darkness, ready to grab your wrists. You hope, but 
you're not sure." 

That's a universal feeling, shared by everyone who ever launched a 
project — whether it's a new tune, a new technical idea, a new toothpaste, or a new 
television show. 

Gene Roddenberry and his production team for Siar Trek: The Next Generation 
must be feeling that same queasy fear right now. 

I think David Gerrold was right when he predicted that the largest audience in 
television history will be watching the premiere episode, and every one of those 
millions will be wondering: Can they live up to the legendary Star Trek! Can they 
create new magic among new characters? Can they inspire and challenge us — while 
still entertaining? 

Those of us who are science-fiction fans will be pulling with all our mental energy, 
hoping that we can help the new series to live long and prosper. But at that point, it 
will be too late for help. The success of Star Trek: The Next Generation will be 
immune to our hopes and wishes. 

Frankly, it will be a miracle if the new series succeeds. Nothing in TV history has 
ever equalled Star Trek, and it will be impossible for people not to compare the new 
to the old — despite everything which is designed to separate the two shows. The Star 
Trek of the 1960s was of such outstanding quality that attempting to match it seems 
close to folly. 

The ingredient which prevents the attempt from being folly is Gene Roddenberry. 

Gene has a strong vision of what will make the new series original, entertaining and 
important. In the years since Star Trek left NBC to become a hit syndication series 
and a hit movie series. Gene has turned his mind to the future. He has written and 
lectured and thought about what the human race might do and ought to do. He has 
continued to grow in his understanding of life and of human nature. 

The results of this personal growth will find its way into the new adventures. Gene 
isn't writing all the scripts, but he is "shaping" them. Dorothy Fontana (story editor 
of the original series and associate producer of the new) told me, "Absolutely nothing 
is written, bought or done without his final approval. I think I can say without any 
reservations that this show is Gene Roddenberry at his best." 

Recently, I visited the Paramount lot, and Richard Arnold {Star Trek archivist) 
toured me though the new Enterprise sets. We bumped into Andy Probert (sets), 
Rick Sternbach (props) and Mike Okuda (graphics) — three of the key designers — all 
bubbling with enthusiasm. 

The sets are bigger and more beautiful than I had dared to hope — filling two huge 
soundstages at Paramount. Sick Bay, for instance, is so exciting that you almost want 
to come down with a disease. It features a lighted wall display which shows vital 
bodily functions in bright colored scales, but, as Mike pointed out, the very bottom 
scale (which no one will notice on TV) is the most important indicator of danger. It 
reads: "Medical Insurance Remaining." 

Actually, that is an indicator of the high spirits shared by everyone working on the 
show. What I have seen of their efforts indicate that they are matching Gene's total 
dedication and intelligent imagination. 

The anticipated directors' strike affected production for a while, and the series has 
suffered other difficulties — but in spite of the problems, there is great optimism. 

Still, the question remains — can Gene pull together all the zillions of tiny pieces to 
create a drama of the human potential to deal with crucial conflicts — a drama which 
will capture an audience larger than just science-fiction fandom? 

Even if the new series is not perfect, not absolute magic, not another 
classic — wouldn't it be wonderful to be able to tune in each week and see a new Star 
Trek play? With Gene at the helm, I know that The Next Generation will at least be 
superior to most of what's on television. 

And if the series turns out to be more than just superior — if it's 
really. . .uh. . .special — then a certain star on Hollywood Boulevard should be 
modified to read, "Gene Roddenberry: Miracle Worker." 

— Kerry O'Quinn/Publisher 

6 ST AKLOG/ November 1987 


Because of the large volume of mail 
we receive, personal replies are 
impossible. Other fans & advertisers 
sometimes contact readers whose let- 
ters are printed here. To avoid this, 
marl< your letter "Please Withhold My 
Address." Otherwise, we retain the op- 
tion to print your address with your let- 
ter. Write: 

475 Park Avenue South, 8th Floor 
New York, NY 10016. 


. . . In your October 1986 issue(#lll), an article by 
William Rabkin on Martin Caidin contains a very 
interesting claim which boils down to this: Caidin 
can cause the ' 'movement of physical objects by the 
mind . . . simply by concentrating" and that he can 
do it ' '4,000 times out of 4,000 tries. ' ' 

If true, this claim will revolutionize science. 
Therefore, I make this offer to Martin Caidin: If 
he can cause the movement of one gram of matter 
through one centimeter from a distance of one 
meter by the power of his mind, 1 will award him 
the sum of $120,000 in accordance with my long- 
standing offer, of which a copy is enclosed. Since 
Caidin says he has moved a "500-gram turkey- 
roasting pan" on one occasion and that at other 
times, he has moved "targets that are 50 feet away 
through three walls, ' ' I believe that he will have little 
problem with my simple challenge. 

I am interested in knowing the names of the "sci- 
entists who have seen his work [and] are as baffled 
and intrigued as he is." I trust that his statement in 
this regard was made more carefully than others at- 
tributed to him in this article, such as, "Science says 
telekinesis isn't possible" and "one morning in 
1903, every scientist in the world thought man could 
not fly." 

Frankly, I do not expect that Martin Caidin will 
respond to this direct challenge. He will want, in- 
stead, to examine my motives and attitudes and to 
declare himself above any discussion of his state- 
ment. But my challenge remains: $120,000 for a 
simple demonstration of his powers that will upset 
science and make me look like a fool for doubting 
his claims. 

Verbal soft-shoe will not suffice. Put up or shut 

James Randi 

Sunrise, FL 

When STARLOG received ihe above letter from 
famed debunker James Randi (the man who 
proved that Uri Geller couldn't bend spoons), we 
forwarded his offer to Martin Caidin. In 
response, Caidin phoned the STARLOG offices 
and explained that he could not accept Caidin 's 
offer because he disagreed with its wording, par- 
ticularly the condition which states that "claimant 
agrees that all data (photographic, recorded, writ- 
ten) of any sort galhere4 as a result of the testing 
may be used freely by [James Randi] in any way 
[he] chooses. " 

Instead, Caidin proposed that he would pay the 
expenses of two STARLOG-appointed witnesses 
who would come to his Florida home and observe 
one of his experiments. STARLOG declined the 
offer since we did not feel we could appoint 
anyone sufficiently qualified — except perhaps 
James Randi (who is also a Florida resident) — to 
evaluate whatever phenomenon Caidin expected 

to happen. 

Caidin also named one scientist who he says has 
witnessed his experiments but the scientist could 
not be reached for confirmation. 

Randi and Caidin have since been put in touch 
with each other so they can settle this matter be- 
tween themselves. No other STARLOG reader, 
besides Randi, sent a letter commenting on 
Caidin 's claims. We believe that our audience 
understood that by publishing this article, 
STARLOG was not endorsing Caidin's claim to 
lelekinetic ability. Nor does publication this issue 
of articles on One Step Beyond imply endorse- 
ment of that genre series' accounts. 


. . .Very sad article in STARLOG #115. The in- 
terview with Ted (The Addams Family) Cassidy 
was excellent, if slightly overdue. It is tragic that 
the man could not further exploit his talents. He 
even stated that he wished he wouldn't be 
remembered for any of his great roles. For Varie- 
ty to state that he was best known as Lurch and 
Bigfoot is unfortunate (although they most likely 
didn't know about his wishes). I think this great 
actor deserved better. 

Matt Cashon 

Malvern, PA 

. . . The article on the late Ted Cassidy was quite 
welcome as I have enjoyed his performances 
throughout the years, but knew absolutely 
nothing about him personally. One Cassidy role 
which wasn't mentioned was in Mackenna's 
Gold, a great Western dealing with Indian 
mysticism. He played the giant Apache who is 
killed by Omar Sharif while they're plundering 
gold from the canyon. 

Mark Bachtold 

Owasso, OK 


... 1 can easily picture Guy Williams (STARLOG 
#114) soaring majestically with his jetpack, 
fighting aliens with electric swords or brandishing 
a laser gun. However, imagining him loafing in 
Argentina is just too far out! 

Guy wasn't meant for the good life. Instead, he 
should be struggling in quicksand, liu-ching amid 
a shower of sparks, leaping through the 
air. . . freeze frame. . .continued next week! That 
was the Guy Williams we knew and loved. 

I'm glad he's doing well and all, but I can't help 
hoping he'll have a first class ticket on the next 
available spaceship back to Hollywood. Wednes- 
day nights are pretty dull without him. 

Joe Frank 

Scottsdale, AZ 

. . . Being a Lost in Space fan for many years, it 
was great to hear from Guy Williams. Recently, I 
saw Jonathan (Dr. Smith) Harris (STARLOG 
#96) at a New York convention. He was in good 
spirits and health. Unfortunately, he informed the 
audience that Irwin Allen has abandoned all plans 
for a Lost in Space reunion even though all the 
former stars agreed to do it. 

I can't see why Allen, after all the successes of 
the Star Wars or Star Trek movies, doesn't want 
to do it. If they can bring back My Favorite Mar- 

tian and have reunions of Gilligan 's Island and 
The Munsters, why not Lost in Space! 

Frank Kastanis 

Astoria, NY 

. . . Zorro was one of my favorite television pro- 
grams during the '50s. Unfortunately, the Zorro 
image would never leave Guy Williams. His 
sword-fighting ability later carried him into the 
award-Winning The Prince and the Pauper, Cap- 
tain Sinbad and Damon and Pythias. Oldtime 
Zorro buffs even got to see the swashbuckler in 
action, sans mask and cloak, in such Lost in 
Space episodes as "The Challenge," "Follow The 
Leader," "The Thief of Outer Space" and "The 
Space Destructors." And at the end of one of the 
series' most absurd episodes, "West of Mars," 
Prof. Robinson (Williams) comments when a 
criminal alien named Zeno flees his planet's law, 
"I think the sheriff will be chasing Zeno for quite 
some time to come." Obvious, eh? 

Thomas Schellenberger 

No address given 

... It is interesting that Guy Williams, just like 
many fans, strongly laments Lost in Space's em- 
phasis on humor in its later episodes. I, too, agree 
that the series suffered in quality when it switched 
from straightforward science-fiction to broad fan- 
tasy. However, I think it's unfair of Williams to 
simply write off the last two seasons as "cute." 

Sure, many of the plots are rather ridiculous, 
but, overall, the stories are quite enjoyable and 
imaginative. Even the most far-fetched episodes 
are filled with clever dialogue, often spliced up 
with sly variations of lines from the works of 
Shakespeare and other classic literature. 

Maybe Lost in Space never won any awards for 
outstanding scripts, but I think as time goes on, it 
will gain new respect and take its place as one of 
the better SF efforts made for TV. Indeed, when 


Missing copies? Moving? Renewals? Re- 
ceiving duplicates? Subscription questions? 
Write directly to: 

I Subscriber 
I Services, 
, P.O. Box 132 
■ Mt. Morris, IL 




! Do not send 

I money order 

I to above ad- 

I dress. See 

! subscription ad 

I this issue. 

J Inquiries addressed to editorial offices only 
I delay your request. 





STARLOG/November 1987 

Avon suspected that Blake was serious 
about leaving when he found the rebel 
leader's Teddy Ruxpin abandoned on the 
flight deck. 

compared to much of the fantasy material that 
has come out in the '80s, it holds up darn well. 

K.L. Conrad 

Santa Rosa, CA 


...I share Kerry O'Quinn's concern about the 
strong religious movements today. ("Imagination 
on Trial," STARLOG #113). And to be truthful, 
those religious groups do have reason to be wor- 
ried. When O'Quinn writes about humanism, of 
belief in man's ability to make his world as he 
wants, he can change minds. What O'Quinn is 
doing is not harmless — to them — so they will not 
even try tolerating his opinion. Just move right on 
to trying to shut him up. 

1 do believe that all that needs to happen for 
tyranny to occur is for good people to sit back and 
do nothing. "From the Bridge" gives thousands 
and thousands of readers the confidence and 
material with which to fight today's tyrannies— all 
those trying to intimidate others into conforming 
to their bland vision of this world. 

O'Quinn believes in STARLOG readers 
enough to challenge them intellectually, and that's 
one of the greatest compliments you can give. 

John Ziperer 

Madison, WI 


... I would like to commend you on the fine arti- 
cle done by Jean Airey and Laurie Haldeman on 
Gareth Thomas of Blake's 7. Like American Star 
Trek, this fine British show faced cancellation and 
earned renewal thanks to fan support before 
finally ending. I hope that one day, it too may en- 
joy a theatrical comeback like Star'Trek. After 
all, as fans of the show well know, only Blake was 
seen bleeding. Avon was still alive as the credits 
rolled and though the rest of the crew went down, 
it is not known if they were killed or just stunned. 

Mary Pat Cheney 

Oak Park, IL 

... I got the distinct impression from Gareth 
Thomas that the only part of his chosen profes- 
sion that interests him is the acting and the fans be 
damned. He didn't much like being recognized as 
Blake by children in the street, never went to con- 
ventions except one and resents the fact that it was 
because of Blake's 7 that people came to see him 

in the theater. 

Yet it was because of Blake's 7 that he was able 
to do something he wanted to do as an actor. He 
might do well to remember that it is the fans who 
make or break a production. If the fans stay away 
from a play, movie or TV series because of the 
main actor's attitude toward them, the production 
fails. When it does, it fails not only for the actor 
in question, but for many other people as well: ac- 
tors, camera people, stagehands, etc. 

When I see how much the Doctor Who cast, 
past and present, does for New Jersey Network 
and the fans, by going to conventions and other 
activities, Gareth Thomas pales by comparison. 

Karthryn M. Earie 

Absecon, NJ 

. .Blake's 7 ranks up there with other SF 
J classics. It blends comedy with special effects, 
T^ serious social themes, and exciting locales. Avon 
< (Paul Darrow) rivals Captain Kirk's magnetism 
although he is much more sardonic. 

1 wish one of the major networks would pick 
up Blake's 7. It would become a cult hit. It's like 
Mission: Impossible in outer space. 
Diane Rigdon 
2844 Deerpark Drive 
San Deigo, CA 92110 

... As one of your English readers and a Blake's 7 
fan, I was delighted to read the interview in 
STARLOG #114 with Gareth Thomas. It was 
wonderful and I hope to see more in the future. 

Let's hope American fans watching for the first 
time (lucky devils!) can join forces with us and get 
good old Aunty Beeb (the BBC) to make a fifth 
season. Blake's 7 doesn't need a live Blake, it was 
about people who explored real relationships in 
extraordinary situations. 

Zoe Taylor 

68 St. Johns Road 


Essex, England C04 4JL 


. . . Although most Superman fans agree that 
Christopher Reeve (STARLOG #121) is the best 
Superman there is and that it would be impossible 
to have someone else play the Man of Steel, what 
if Superman V comes around and Reeve doesn't 
want to portray Superman again? Who will put 
on the red cape and blue tights next? That's easy! 
Why not cast Jeff East, the teenager who played 
the young and troubled Clark Kent in the first 
Superman film? East would be near perfect for 
the role. He could even pass for Christopher 
Reeve's younger brother! 

Tony J. Vargas 

2 Alviso Court 

Pacifica, CA 94044 


. . . Bravo for Jean Airey and Laurie Haldeman's 
beautifully done interview with Tom Baker 
(STARLOG #115). 

One complaint — that "Tom Baker: Prisoner of 
Dr. Who" coverline. Although that might be the 
opinion of some of the more limited intellects in 
the television industry, why reinforce a negative 

Jaiel Tsende 

Address Not Given 


. . . PO W ! ! That was a great interview with Adam 
West in STARLOG #117. 1 have been a long time 

fan of Adam West, and not just because of Bat- 
man, ^though that was what made him my 
childhood hero at seven. I sincerely feel he is 
clearly one of Hollywood's most underrated ac- 
tors (I'm always for the underdog). Steve Swires 
did a fine job in getting to the man behind the 
mask, and that man seems to have much more 
potential than he has been allowed to show. 

While I enjoyed Batman, I'm disappointed that 
because of that show, most of what West has 
done since then is tongue-in-cheek. Still, I and 
many others would rather he re-created the role of 
Batman in the proposed new movie than be faced 
with another expensive disaster like 77?? Legend 
of the Lone Ranger (1981). I can only hope that 
now STARLOG will keep us Adam West fans 
posted on his upcoming projects — Outfoxed and 
Doin' Time on Planet Earth. 

Ray Mello 

Warwick, RI 

... I read your interview with Adam West with 
great interest and sympathy. West has said before 
that he would like to play Batman in the 
(perpetually) upcoming film but, while I under- 
stand his desire, I think he would be wrong for the 
part. A suggestion, however: Any Batman film 
would have to deal with his origins, so why not 
cast Adam West as Dr. Thomas Wayne, Bruce 
Wayne's father? In that way, he could "hand 
over the cowl" to the next generation's cinematic 
Dark Knight. 

John Blocher 

Tucson, AZ 

... 1 recently met the fabled Dynamic Duo, Bat- 
man (Adam West) and Robin (Burt Ward), at an 
auto show where they were showing off the Bat- 
mobile. Adam West certainly is a great actor, but 
when I saw him as Batman, I could see his almost 
sad eyes under his mask. I'm appalled at how 
Hollywood has treated him after Batman. 

I had fun chatting with both actors and even 
got to shake their gloved hands. What really 
shocked me was to see shaving razor burn on Burt 
Wards' upper lip! 

Christopher Kreig 

Cypress, TX 

... It is one of the saddest things when gifted ac- 
tors are typecast or somehow never get their big 
break. Adam West fits into a category along with 
George Maharis, Tuesday Weld and John Sax- 
ton — all very talented who somehow couldn't get 
that all-important "major motion picture" to fur- 
ther their careers. 

I can't begin to tell you what Batman meant to 
me growing up. But it's safe to say that I and 
many others would've been less fortunate had the 
series and Adam West never existed.- Thanks, 

T.L. Smith 

River Rouge, MI 

For more Batman tales, see the interview 
with Burt Ward on page 54 of this issue. 


. . . You can tell David McDonnell (Liner Notes, 
STARLOG #115) that he managed to sell a 
January issue to someone who had never bought a 
STARLOG magazine before. The draw was an 
interview with my favorite Star Trek actor, 
DeForest Kelley. Thanks for focusing on someone 
who often gets the short end of the stick. 

Anne M. Inda 

Colorado Springs, CO 

8 STARLOG/November 1987 

1ST — (Inside Star Trek) 

NO. 1 



Your club run and operated for you 
with "Marie" as your editor — 6 
bi-monthly issues of the latest Infor- 
mation, gossip, exclusive pictures, 
contests, stories. Interviews, all the 
latest information available from an 
Inside point of view. Package 
Includes Official T-ShIrt, holo- 
graphic badge, 20th anniversary 
stickers, decals, headline labels, 
command stickers, eels, member- 
ship card, insignia depicting area of 
country you live in (to be worn on 
T-shirt to immediately Identify you 
to other sectional members), "ST 
LIVES" pencil, special offers on 
new StarTrek items available in cata- 
log or to members only. 

D 8000—6 bi-monthly issues 

1ST $19.95 


8001 Star Trek The Next Generation 

NO. 7 

THE nexT BEnEHsrian 

The 'Bible' was designed by Gene 


NO. 2 


White continental style, zippered crew jacket, 
trimmed in navy blue. Designed especially for Star 
Trek IV The Voyage Home. On the back is embla- 
zoned a directly embroidered design of the New 
Enterprise saluting George and Grade as they cavort 
in the bay by the Golden Gate Bridge on her way back 
to the stars to seek out new adventures. 
The front has been left unadorned so that you can add 
the design of your choice may we suggest the George 
and Cracie patch (which we will attach) to match the 
cap (adjustalble). True elegance 

J -0905— Plain front— specify size 5725,00 

J-0905A— Jacket with patch specify size $13000 

l-0905B-Jacketwith patch and cap-specify size$140.00 
J0900&-Cap only— specify white, navy or black $ 12.95 




Roddenberry whose genius master- 
minded the creation of the show. 
The Writers Guide launches the 
new series. Who are the characters? 
Where do they work, live & play? 
Where are they going and why? 

50 Pages of vital Information! 

□ 8007 Writers Guide 9.95 




Colorful design on black background. The 
Enterprise trailing a rainbow of 6 colors 
across a starry sky while our whale soars 
on its trail into the future guaranteeing 
the survival of the species. Enterprise and 
whale are in a raised finish. 50/50 T-shirt. 
0511— Ultimate Voyagers 574.95 


Metallic silver Enterprise and puff white 
lettering on a glittering starfiela. The Offi- 
cial Star Trek Tne Next Generation T-shirt. 
50/50 black T-shirt. 

0512—STTNG T-shirt $74.95 

nSm UMed dLg BXL 

As worn by all Enterprise person- 
nel. A part of the new uniform. In 
addition to providing communica- 
tions as before, its monitoring func- 
tions remain In full operation 
constantly, allowing the starship 
command officers to monitor the 
safety and progress of a landing 
team at all times. Touch activated. 

2426— Communicator J72.95 




A genetic variation discovered on an all 
water planet which accounts for their hav- 
ing eyes. They are prettier softer and 
larger than ever before, as they are trying 
very hard to please a possible adoptive 
home on a class M planet. They don't 
scratch, wet, bite, growl or have to be 
exercised and they're Inexpensive, they 
don't eat. Grade has blue eyes and 
George has brown eyes. Yours to love. 
1-0409— George and Grade 573.95 



P.O. Box 691370 

Los Angeles, CA 90069 

Enclosed find my check or money order. 

for total amount 

I — I I — ^ I — I American 
Charge my I I Mastercard 1 I VISA I I Express Exp. Date 


Call toll free 1-800-321-3700 (Credit card orders only, please.) 

Postages. Handling: U.S. 

Account Number 


U.S. funds only. 

Calif, residents add 
6% tax 



$2.50 -First Item 
1.00 - each additional item 

3.00 First Item 

1.50 each additional item 

Foreign 25% of total purchase. 

LJ For Color Catalog exclusively of ST memurabilia, send $1.00. 

MONEY BACK GUARANTIES 1614 N.Wilcox Avenue, LA. CA 90028 


City, State, Zip 




nnovative comic-book writer Alan 
Moore, creator of the acclaimed Wat- 
chmen series (STARLOG #114), may not be 
watching the development of the Watchmen 
film script very closely, but he does have his 
eyes on another movie, one of his own 
devising. Moore's screenplay is a (clothing) 
horse of a different color: Fashion Beast. 

"Basically, it involves elements of the life 
of Christian Dior, which was quite a strange 
life indeed," Moore explains. "Dior's life 
was apparently utterly dominated by his 
mother— even after her death. Every draw- 
ing, every design he ever did had her face. 
Also, he was a very reclusive man with many 
strange quirks. Now, wedded to this is the 
Beauty and the Beast fable, translating 
Dior's relationship with Yves St. Laurent, 
whom he more or less took under his wing, 
into those terms. 

"Fashion Beast is set in a very timeless 
landscape. It could be Paris, it could be New 
York. There are rumors of sort of a nuclear 
war about to happen or happening 
somewhere else. There's a great deal of 
panic and paranoia," he notes. "It's a world 
that, in the midst of all this carnage, can on- 
ly find pleasure in transient values, a world 
where fashion has become almost the only 
thing with any meaning and where the whole 
city revolves around this central salon, 
which is run by the title character." 

Yet, despite his script's bizarre trappings, 
Moore is a bit hesitant about committing 
Fashion Beast to one genre or another. 

"I really wouldn't know quite how to 
describe it," he admits. "It's not quite a 
fantasy. Obviously, there are elements of 
science fiction in that it could be set in the 
near future, even though the date isn't 
given. It's non-specific fantasy, if you like, 
with no real fantastic elements in it, except 
that the landscape is not a real place, not a 
real time. It's just a very dark and expressive 
background against which to set this very 
gaudy tale of fashion and passion." 

However, no matter how well-received his 
script may be or even how well the final film 
may turn out, fans of Moore's work 
shouldn't look forward to any more of his , 
cinematic scribblings. States Moore, "I 
doubt whether I shall be taking any further 
forays into fihns. You don't get anywhere 
near the same control doing films as you do 
with comics, and I'm not as interested in 
fihn, quite frankly, as a medium; movies 
don't excite me as much as comics. I might 
do the odd screenplay now and again if 
anybody asks me to, if I feel the inclination. 
Fashion Beast is just me being a dilletante, 
sort of dabbling, seeing what it's like to 
write a screenplay." 

—Daniel Dickholtz 


he Twilight Zone is relocating. Finding 
reception a bit unneighborly on CBS 
and production a bit expensive in California, 
that land of Rod Serlingesque shadow and 

substance is moving north of the border to 
produce all-new episodes (possibly using 
some unfilmed scripts prepared for the CBS 
incarnation). Like A irwolf and Alfred Hit- 
chcock Presents, this newest, cheaper 
Twilight Zone will be lensed in Canada. 
Though not officially announced at 
presstime, plans call for enough segments to 


Listed below is a release schedule for up- 
coming SF/fantasy/horror movies and 
selected animation and adventure films. All 
dates are extremely subject to change, with 
movies deemed especially tentative denoted 
by an asterisk. Schedule changes are report- 
ed in the "Updates" section of Medialog. 

October: Pumpkinhead, The Hidden, 
The Princess Bride, Prince of Darkness, 
Blue Monkey. 

Fall: Remote Control, The Time Guard- 
ian*, Desert Warrior, Nightflyers, Made in 
Heaven, World Gone Wild*, Like Father 
Like Son. 

November: The Running Man, Flowers 
in the Attic, Invasion Earth, Date with an 

Christmas: Felix the Cat*, Batteries Not 
Included, Empire of the Sun, Cinderella (re- 

January 1988: Sister, Sister, Return of the 
Living Dead, Part II, The Serpent and the 
Rainbow, Dracula's Widow, Brenda Starr. 

Februar>': Bill & Ted's Excellent Adven- 
ture*, Pulsepounders. 

Spring: Beetlejuice, Robojox*. 

May: Willow. 

Summer: Vibes. 

Christmas: The Adventures of Baron 


Max Headroom (above, left) returns to bedevil heroic Edison Carter (Matt Frewer) and 
lovely Theora (Amanda Pays) as the futuristic adventure series moves to Fridays on 
ABC (9 p.m.). T-t-t-that's all, folks! 

10 STARLOG/November 1987 

be produced to create a larger syndicated 
package, combining reruns and all-new 

i episodes. 

There's an unusual if welcome guest on 
jiand in the premiere episode of Siar Trek: 
The Next Generation. This cameo may be 

ledited out before broadcast if its exact nature 
is leaked out to major media prior to airing. 
So, we aren't saying what, but watch out for 
the surprise. 

The latest Time Lord, Sylvester McCoy 
(STARLOG #120), begins his adventures 
with a new season oi Doctor Who. The four 
stories include: "Time and the Rani" scripted 
by Pip & Jane Baker, guest starring Kate 
O'Mara; "Paradise Tower" by Stephen 
Wyatt; "Delta and the Bannerman" by 
Malcolm Kohll, guesting Stubby Kaye and 
•Dragonfire" by Ian Briggs. The first two are 
:'our-parters; the others, three-parters. 

Nothing's official quite yet and contracts 
haven't been signed at presstime, but there 
are plans for a Doctor Who movie. 

Updates: Superman IV: The Quest for 
Peace premiered in late July to almost univer- 
sally bad reviews. But the most unusual 
aspect of this sequel was its length — a mere 87 


They've landed at a multiplex or tiardtop near you: Steve {Phantom of the Rue Morgue) 
Forrest, Rot>ert {Time Tunnel) Colbert and Joey (John's brother) Travolta. Fresh out of 
the '50s, these spacenauts are about to meet the ubiquitous Amazon Women on the 
Moon. This comedy anthology— directed by Robert Weiss, Joe Dante, John Landis, 
Carl Gottlieb and Peter Horton— has a cast of thousands (with Carrie Fisher and Mike 
MazurkI) and a budget of not as much, but It's in theaters right now. Really! So, go 
already. And when In Southem California, visit the Universal City Studios Tour. Ask for 

Amazon Women Photo: Richard ForemanfCopyright 1987 Unlveisal CHy Studios 

Introducing . . . 

The Greatest 

Trivia Game To 

Span the Galaxy! 

Trekkie Trivia wili test the knowledge of the greatest Trekkie Fans. 

Questions cover general knowledge and facts on all episodes. 

Trekkie Trivia consists of 39 different games. Game #1 has 100 

cards covering 3 episodes, games #2, 3, & 4 have 50 cards covering 

2 episodes, games #5-39 have 40 cards and covers 2 episodes 

each. Each card has 6 questions and 6 answers. Trekkie Trivia is 

one of the largest sources of information on the market. It's a 

must for the serious fan. Order today! 

We are searching for the most knowledgeable Trekkie Fan in the 
world. If you think that you are that fan please send us the entry form 
below. Contest is through an elimination process. We will call ran- 
dom entries and ask them questions from Trekkie Trivia cards, and the contestant which 
answers the most questions correctly will be deemed the most knowledgeable Trekkie Trivia 
Fan. Our winner will receive a one week trip to Hawaii for two including hotel room and air- 
fare. Contest ends February 14, 1988. Departure point Continental U.S.A. Send your entry 
form soon. No purchase necessary. 

(Please Print) 







D Send me more details 
D Enter me in your Trekkie Trivia contest 
*Add $2.00 shipping & handling tor 1st 
game, $1.00 for ea. additional game. Cana- 
dian & foreign $3.50 1st game, $2.00 ea. 
additional game. Allow 6-8 weeks for delivery. 
■'{Indicate which game; #5-39 you are 

Game #1 
Game #2, 3 & 4 
Games **#5-39 

sdiecks payable and send to: UNE OF SIGHT, P.O. Box 32907, San Jose, CA 9S152 

Price Quantity 

$9.95 X ( ) _ 

$4.95 X ( ) _ 

$3.95 ea. X ( ) _ 

Subtotal _ 

CA residents add 7% tax _ 

'Shipping/handling _ 

Total _ 



minutes. Results of an audience preview 
prompted director Sidney J. Furie to carve 
about a half-iiour out of the film. Trimmed 
was the entire Nuclear Man I sequence 
(featuring Clive Mantle as a bizarro-type 
Superman clone created by Lex Luthor), a 
Clark Kent/Lacy Warfield disco date and the 
movie's climactic Superman & Jeremy flight 
above the Earth (cited in STARLOG #123), 
among other incidental scenes. Numerous 
reviewers cited the narrative confusion that 
the wholesale editing produced as one of the 
film's many weak points. A Superman Vis 
not likely to happen. 

John Carpenter's newest genre excursion, 
Prince of Darkness, premieres October 23. 
Teen Wolf, Too will open November 6. Bat- 
teries Not Included, an Amblin tale of aliens 
and the aged, debuts December 18. And Wes 
Craven's The Serpent and the Rainbow, 
based on the non-fiction book by Wade 
Davis, is set for January 15. 

Animation: Mel Blanc, that man of a thou- 
sand voices (STARLOG #102), and Mae 
Questel, the voice of Olive Oyl and Betty 
Boop, have recorded their contributions to 
Who Framed Roger Rabbit? The duo are 
reprising some of their cartoon characters in 
the Amblin Entertainment/Disney produc- 


Comic-book hero Captain Justice (Jeff 
Lester, left) and private eye sidekick 
Gumshoe (Robert Forster of Banyon) are 
fantasy creations come alive to battle 
badness in the new ABC series Once a 
Hero, airing Saturday nights at 8 p.m. 

tion. The live action/animation combination 
film, set in a Hollywood populated by real 
cartoon stars, will mark the historic (and un- 
doubtedly hysteric) first meeting on screen of 
two famed fowls, those ducks Donald and 

Meanwhile, work on Disney's Oliver (also 
known as Oliver in Manhattan) is running 
later than expected. There's a great deal of 
uncertainty about its being completed in time 
for a Christmas 1988 release. 

Ralph Bakshi (STARLOG #10) is the 
guiding hand behind The New Adventures of 
Mighty Mouse (CBS, Saturdays, 7:30 a.m.). 
There'll be 13 new episodes featuring the 
revived Terrytoons hero. Then, there's 
Popeye & Son (10 a.m., 13 new episodes), a 
new series putting Popeye, wife Olive Oyl and 
son into those inevitable conflicts with Bluto 
& family. Also noteworthy on CBS Saturdays 
are: the return of Muppet Babies (8-9 a.m.) 
with 18 new episodes, Teen Wolf (10:30 a.m.) 
with eight new shows, and Fee-wee's 
Playhouse (9 a.m.) with 10 new live-action 

Sequels: 20th Century Fox is busily pro- 
mising toy companies and other licensees that 
the studio will release an ALIEN (III) — as 
they style it — next year. They're calling it "a 
futuristic horror story in outer space that 
takes today's combat appeal and translates it 
into a science-fiction extravaganza — with lots 
of action and originality." Needless to say, 
production has not yet begun on this sequel; 
director Jim Cameron and producer Gale 
Anne Hurd, the team who made ALIENS, 
say they won't be involved. However, reports 
persist that /I L/£7V director Ridley Scott will 
sign aboard again to helm this sequel. Scott's 
latest film. Someone to Watch Over Me, 
opens this month — and he'll probably be 
commenting on the ALIEN (III) possibility in 
interviews for this non-SF movie. 

Beneath the Streets, there lurks yet another 
sequel. That's the title of the follow-up to the 
John Sayles-scripted monster movie, 
Alligator. It's targeted for amid-1988 release. 

Due to start shooting shortly is Return of 
Swamp Thing. Producers Ben Melniker and 
Michael Uslan, responsible for the first film, 
are back again behind the scenes. 

And Tri-Star Pictures is developing The 
Further Adventures of Little Orphan Annie. 
It 's not clear if this is the officially dead A nnie 
II movie musical sequel reactivated or a 
brand-new project just begun. 

Tommy Lee Wallace, who made Hallo- 
ween III: The Season of the Witch, will pro- 
bably direct Fright Night II. 

Fantasy Films: Tom (Fright Night) 
Holland will direct the film version of Fred 
Saberhagen's Dracula novel. An Old Friend 
of the Family. Jim Hart scripted. 

Heavy Armor, written by Doug Borhi, is 
yet another SF project being prepared. 



The world's greatest escape artist retums 
(sort of) on October 31 with a syndicated 
two-hour TV special, The Search for 
Houdini. The special will chronicle his life 
(through photos and rare footage) and in- 
clude a number of classic Houdini tricks 
(performed by contemporary magicians). 
However, the program's centerpiece— and 
most controversial aspect— will be the at- 
tempt to summon him back from the dead, 
via live seance In the type of supernatural 
ritual Harry Houdini spent years debunk- 
ing. William Shatner, no stranger to the 
strange, hosts the program. 

Character Castings: Also in the cast of 
Willow are Billy Barty (most recently seen as 
Gwildor in Masters of the Universe), Pat 
Roach (seen in two roles in Raiders of the 
Lost Ark), comedian/director David 
Steinberg and Gavan O'Hedihy (Domino's 
brother in Never Say Never Again). 

Meg (Impulse) Tilly, Kim (Mannequin) 
Cattrall and Rob (Illegally Yours) Lowe co- 
star in the romantic thriller Masquerade (no 
relation to the Rod Taylor/Kirstie 
Alley /Greg Evigan TV series). 

Cattrall's Big Trouble in Little China co- 
star, Kurt Russell, is starring in Overboard 
with his off-screen love interest Goldie 
Hawn. Katherine (Brazil) Hehnond, Edward 
(Lost Boys) Herrmann and Roddy 
McDowall (STARLOG #101) are also in the 
cast. McDowall is executive producer. 

Comics: Paul Williams' The Wizard of Id 
movie, based on a script by Williams and Id 
comic strip creator Johnny Hart, apparently 
will be filmed in Hungary. David and Jerry 
Zucker, two of the Airplane! directorial 
troika, will helm the film. 

And after almost 40 years, Mr. Magoo is 
going live-action. Producer Steve (Risky 
Business) Tisch is putting together a Magoo 
movie at Warner Bros., bringing Magoo, 
who debuted in 1949's UPA short "Ragtime 
Bear," at last to real life. It'll be something to 
see — even for Mr. Magoo. 

— David McDonnell 

12 STARLOG/A^ove/nter 1987 

Explore the 


universe in 

#2 Interview: Gene 
Roddenberry. Space: 
1999 Episode Guide. 
Logan's Run. War of 
the WoHds. Flash Gor- 
don. $6. 


#3 Space: 1999 
Episode Guide. Inter- 
views: Nichelle 
Nichols, George Takei, 
DeForest Kelley. Six 
Million Dollar Man. $5. 

#4 3-D SF Movie 
Guide. IntervievkTs: 
Richard Anderson. 
Outer Limits Episode 
Guide. $5. 

#5 3-D Movie history. 
yfO and Space; 1999 
Episode Guides. $5. 

#6 Robert Heinlein on 
making Destination 
Moon. Star Trek 
Animation Guide. Fan- 
tastic Journey. $5. 

#7 Star Wars: Making 
of Rocketship X-M. 
Space: 1999 Eagle 
Wueprints. Inside Rob- 
by the Robot. $5. 

#8 Interview: Harlan 
Blison. Star Wars. The 
f?y (original). $5. 

#10 Interviews; 
George Pal, Ray Harry- 
hausen, Ralph Bakshi. 
Isaac Asimov. $5. 

#1 1 CE3K. The 
Prisoner Episode 
Guide. The Incredible 
Shrinking Man. Special 
FX makeup: Rick 
Baker, Stuart 
Freeborn, John 
Chamt>ers. $5. 

#12 Interviews: Gene 
Roddenberry, Doug 
Trumbull & Steven 
Spielberg on CE3K. 
Special FX makeup: 
Dtck Smith. $4. 

#13 Inten/iew: David 
Prowse. George Pal 
remembers The Time 
Machine. Logan's Run 
Episode Guide. $4. 

#1 4 Pro/ecf UFO. In- 
terview: Jim Danforth. 
Michael O'Donoghue's 
Saturday Night Live- 
Trek parody script. $4. 

#15 Twilight Zone 
Episode Guide. Galac- 
tica. The Selling of Star 
Wars. Richard Donner 
on Superman. This 
Island Earth. $4. 

#16 Interviews: Alan 
Dean Foster, Phil 
Kaufman. Fantastic 
Voyage. The Invaders 
Episode Guide. $4. 

#17 Interviews: 
Steven Spielberg, 
Gene Roddenberry, 
Joe Haldeman, Rsilph 
McQuarrie. $4. 

#1 8 interviews: Gary 
Kurtz on Empire, Joe 
Dante, Dirk Benedict & 

Richard Hatch. $4. 

#19 Interviews: 
Ralph Bakshi, Roger 
Gorman, Gil Gerard. 
Maren Jensen. Star 
Wars. Body Snatchers. 

#20 Interviews: Pam 
Dawber, Kirk Alyn. 50 
years of Buck Rogers. 
Superman. ALIEN. $4. 

#21 Inten/iews: Mark 
Hcimill, George 
Romero. Lost in Space 
Episode Guide. Buck 
Rogers. Special FX: 
David Allen. $4. v 

These back issues present a full spectrum of the science-fiction universe in TV, films, 
books and other media. They chronicle the history of science fiction in fascinating 
articles and revealing interviews with the men and women who create the worlds of 
science fiction and fantasy. 

FREE POSTAGE! (Except for 1st Class & Air Mail Requests) 

#22 Interviev^^: 
Lome Greene, Noah 
Hathaway, Veronica 
Cartwright. ALIEN. 
Moonraker. Careers in 
Special FX. $4. 

#23 Interviews; David 
Prowse, Dan O'Ban- 
non. Dr. Who Episode 
Guide. The Day ^e 
Earth Stood Still. 
AUEN. $4. 

#24 STARLOG's 3rd 
Anniversary. Inter- 
views: William 
Shatner, Leonard 
Nimoy, Walter Hill. $6. 

#25 Interview: Ray 
Bradbury. Star Trek- 
The Motion Picture. $4. 

#26 Interviews: 
Ridley Scott, H.R. 
Giger. $4. 

#27 Gaiactica 
Episode Guide. ST- 
TMP. Black Hole. 
AUEN FX. Interview: 
Nicholas Meyer. $4. 

#28 Interview: Lou 
Ferrigno. Wonder 
Woman Episode 
Gu\de. Buck Rogers. 

#29 Interviews: Erin 
Gray, Buster Crabt>e. 

#30 Interview: Robert 
Wise. Chekov's Enter- 
prise. Questor Tapes. 

#31 Empire Strikes 
Back. 20,000 Leagues 
Under the Sea. 
Chekov's Enterprise 2. 

#32 FREE sound FX 
record. Designing 
Buck Rogers & Trek. 
Chekov's Enteiprise 3. 

#33 Voyage to the 
Bottom of Sea Episode 
Guide. Harian Ellison 
reviews Trek. $4. 

#34 Interviews: Tom 
Baker of Dr. Who, Irv 
Kershner on Empire. 
Martian Chronicles. 
Buck Rogers. $5. 

#35 Battle Beyond 
the Stars. Interview: 
Billy Dee Williams. 
Voyage to the Bottom 
of the Sea FX. $4. 

#36 STARLOG's 4th 
Anniversary. Inter- 
vievre: Gary Kurtz, 
Nichelle Nichols, 
David Prowse, Glen 
Larson. $6. 

#37 Interviews: Har- 
rison Ford, Persis 
Khambatta, Terrance 
Dicks. First Men in the 
Moon. $4. 

#38 CE3K. Buck 
Rogers Episode guide. 
Interview: DeForest 
Kelley. C/as/)o/tfje 
Titans. $4. 

#39 Buck Rogers. 
Tom Corbett 
Remembers. Inter- 
views: Erin Gray, Fred 
Freiberger. $4. 

#40 Interviews: Mark 
Hamill, Gene 
Rodenberry, Jane 
Seymour, Gil Gerard, 
Freiberger 2. Empire 

#41 Interviews: Sam 
Jones, John Carpenter, 
Melody Anderson. 
AUEN. $4. 

#42 Interviews: 
Robert Conrad. Merit 
Lenard. Childhood's 
End. Dr. Who. $6. 

#43 Intervlevre: Gary 
Kurtz, Jean not 
Szwarc, David 
Cronenberg, Robert 
Altman. Altered States 
FX. Incredible Hulk 
Episode Guide. $4. 

Interview: Bob 
Balaban. $4. 

#45 Escape from 
New Yori<. Buck 
Rogers' Hawk. $4. 

#46 Superman II. 
Greatest American 
Hero. $4. 

#47 Interviews: 
George Takei, Sarah 
Douglas, Douglas 
Adams on Dr. Who. 
OutSand. $4. 

#48 STARLOG's 5th 
Anniversary. Inter- 
views: Harrison Ford. 
George Lucas, John 
Carpenter, Bill Mumy. 

#49 Interviews: 
Adrienne Bartieau, 
Kurt Russell, George 
Lucas, George Takei. 
James Bond FX. 
Raiders. $5. 

#50 Interviews: 
Steven Spielberg, 
Sean Connery, 
Lawrence Kasdan, 
George Lucas, Ray 
Walston. Boba Fett un- 
masked. Heavy Metal. 
Dr Who. $10. 

#51 Intefviews: 
William Shatner, Ray 
Harryhausen, Gene 
Roddenberry. Jeny 
Goldsmith, Lawrence 
Kasdan. Batman. $4. 

#52 Blade Runner. 
Matthew Star. Inter- 
views: William 
Shatner, Peter Barton, 
Julian Glover. $4. 

#53 Interviews: Ray 
Bradbury, Patrick 
Macnee. Blade Run- 
ner. Greatest American 
Hero. Dragonslayer. 

#54 3-D SPECIAL. 
Interviews: Robert 
Culp, Connie Selleca, 
Terry Gilliam, Leslie 
Nielsen. Trek 
Bloopers. Raiders FX. 

#55 Quest for Fire. 
Time Bandits. Inter- 
views: Philip K. Dick, 
Ed (UFO) Bishop, Alan 
Ladd, Jr., Robert Culp, 
Doug Trumbull. Trek 
Bloopers. Brainstorm. 

#56 Zardoz. Triffids. 
Trek Bloopers. $4. 

#57 Lost In Space 
Robot. Conan. Inter- 
views: Caroline Munro, 
Ron Cobb. $4. 

#58 Spaceship 
Blueprint. 77ie Thing. In- 
terview: Syd Mead. Trek 
Bloopers. $5. 

#59 The Thing. Inter- 
views: Kirstie Alley, Ar- 
nold Schwarzenegger, 
Menitt Butrick. $10. 

#60 STARLOG's 6th 
Anniversary. Making of 
Star Trek II. Interviews: 
John Carpenter, Rkjiey 
Scott, Albert Whitlock. 

#61 Making of Star 7re(( 
II, Part 2. Interviews: 
Walter Koenig, Sean 
Young, Sandahl 
Bergman. Road Wa/rior. 

#62 Interviews: Ricardo 
Montaltsan, Jatrtes 
Doohan, Walter Koen ig, 
Ken Totiey. Dr. Who. $4. 

#63 Interviews: Steven 
Spielberg & Cario Ram- 
baldi on E T. Leonard 
Nimoy, Kurt Russell, 
Rutger Hauer, James 
Homer. $5. 

100-page issue: David 
Warner. Dr. Who Episode 
Guide. $10. 

#65 Inten/iews: Arthur 
C. Clartie, Mark Hamill, 
Tim HiWebrandt, E.T. FX. 

#66 Gary Kurtz & Brian 
Proud on Dark Crystal. 
Frank Hertsert on Dune. 
HaKfere. $4. 

#67 TRON. The Man 
Who Killed Spook." 
Superman III. $4. 

#68 Octopussy. Never 
Say Never Again. Inter- 
views: Harve Bennett, 
Richard Maibaum. 
Wizards « Warrmrs. 
A Boy & His Dog. $4. 

#69 Interviews: Anthony 
Daniels, Howard Kazan- 
jian on Jedi, Greg 
Hildebrandt. $4. 

#70 Spacehunter. 
Something Whked This 
Way Comes. Man from 
U.N.C.LE. Interviews: 
Det>bie Harry, Chris Lee, 
John Badham on Blue 
Thunder $4. 

#71 Inten/iews: Carrie 
Rsher & Richard 
Marquand on Jedi, 
Judson Scott, Dan 
CTBannon. V. Octopussy. 
Never Say Never Again . 

#72 STARLOG's 7th 
Anniversary, Interviews: 
Mark Hamill, William 
Shatner, Roger Moore, 
Ray Bradbury, June 
Lockhart. $6. 

#73 Interviews: Maud 
Adams, Cliff Rotjertson, 
Roy SchekJer, Jason 
Rotiards, Robert 
Vaughn. $4. 

#74 WaiGames. Jedi 
FX. Interviews: Malcolm 
McDowell, Molly 
Ringwald, Michael Irorv 
skie. $4. 

#75 Interviews: Nancy 
Allen, John Lithgow, Bar- 
bara Carrera, Ralph 
McQuarrie, George 
Lazenby. $4. 

100-page issue. Inter- 
views: Buster Crabt>e, 
Sybil Danning. Krull. $6. 

#77 Interviews: Phil 
Kaufman, Chuck Yeager, 
Seat man Crothers, Tom 
Baker, Doug Trumbull. 

#78 Interviews: Lou 
Ferrigno, Scott Glenn, 
Nicholas Meyer, Arthur 
C. Clarke. Brainstorm. 
Strange invaders. The 
Day Alter Right StuH. $4. 

#79 Interviews: Dennis 
Quaid, Irv Kershner, Jon 
Pertwee, Fiona Lewis, 
David Hasselhoff. Dr 
Who, Knight Rkier S4. 

#80 Interview: Billy Dee 
Williams. 7re/c/;/, Last 
Starfighter. Jedi FX 1 . $4. 

#81 Interviews: Alan 
Dean Foster, Fred 
Ward, Veronica Cart- 
wright, Greystoke, 
Buckaroo Banzai. 
Dreamscape. $4. 

#82 Interviews: ArnoW 
Schwarzenegger, Max 
von Sydow, Ian McDiar- 
mkf, Chris Uoyd, Faye 
Grant. V. Dr. Who. Trek 
III. Jedi FX 2. $4. 

#83 Inten/iews: Kate 
Capshaw, Robin Curtis, 
Fritz Leiber. Indiana 
Jones. Dr. Who. $4. 

#84 STARLCX3's 8th 
Anniversary. Interviews: 
Leonard Nimoy, Frank 
Oz, Marc Singer, 
Phoebe Cafes. S. Ban- 
zai, Jedi FX 3. V. $6. 

#85 Interviews: Jim 
Henson, Joe Dante, Jeff 
Goldblum, Peter Hyams, 
Bob Zemeckis. fl. Ban- 
zai. Gremlins. Ghost- 
busters. Romancing the 
Stone. $4. 

#86 Interviews: Peter 
Welter, Mart! Lenard, 
Tanya Rotwrts, John 
Sayles, Chris Columbus, 
a Banzai, Ghostbusters. 
Neverending Story. Jedi 
FX 4. Gremlins. $10. 

#87 Ghostbusters FX. 
Interviews: DeForest 
Kelley, David Prowse, 
David Lynch. Gremlins, 
B. Banzai. $5. 

100-page issue. Inter- 
views: Schwarzenegger, 
Kelley, Keir Dullea. 
Done. Gremlins. 1984. 
V. Terminator. Dream- 
scape. $6. 

#89 Interviews: Jane 
Sadler, Helen Slater, 
Patrick Troughton, W.D. 
Richter, Jim Cameron, 
Dune. 2010. Starman. 
B. Banzai. Terminator. 

#90 Inten/iews: Roy 
Scheider, Karen Allen, 
Michael Ironside. Dune. 
Runaway. Supergirl. V. 
Pinocchk>. $10. 

#91 Interviews; Ken 
McMillan, Walter 
Koenig, Michael 
Crichton. V. FX. Oz 
2010. Starman. Other- 
world. Monty Python. 

#92 Interviews: John 
Carpenter, Tom 
Selleck, Terry Gilliam. 
James Bond. Oz. 
Creator Brazil. Bar- 
barelia. Gremlins. $4. 

#93 Interviews: 
Richard Donner. John 
Lithgow, John Hurt, 
Robert Englund, 
Simon Jones, Denis 
Lawson. Dr. Who. Jedi 

#94 Interviews: 
James Doohan, 
Michelle Pfeiffer, 
William Katt, John 
Sayles, John Barry. V. 

#95 Interviews: 
Grace Jones, Merritt 
Butrick, Rutger 
Hauer, Matthew 
Broderick, Frank 
Ashmore. MatfMar 
///. Cocoon. $4. 

#96 STARLOG's 9fh 
Anniversary. Inter- 
views: Peter Gushing, 
Walter Lantz, Roger 
Moore, Jonathan Har- 
ris, Tina Turner. 
Cocoon. Jedi FX 7. $6. 

#97 Interviews: Mel 
Gibson, Scott Glenn, 
Ron Howard, Richard 
Donner, Chris 
Future. Black 
Cauldron. $4. 

#98 Interviews: 
Michael J. Fox, Joe 
Dante, George Miller. 
Cocoon. Ghost- 
busters. $4. 

#99 Interviews: 
Anthony Daniels, Bob 
Zemeckis, "Cubby" 
Broccoli. Mad Max. 
Twilight Zone. $4. 

ISSUE: 100 Most Im- 
portant People in SF. 
Interviews: George 
Lucas, Leonard 
Nimoy, John 
Carpenter, Ray 
Harryhausen, Harian 
Ellison, Richard 
Matheson, Gene 
Roddentwrry, Inwin 
Allen, Nichelle 
Nichols, Peter 
Gushing. $6. 

#101 Interviews: 
Ellison, Ridley Scott, 
Sting, Roddy 
McDowall, Patrick 
Macnee, George 
Takei, Fred Ward. 
Legend. Jetsons. 
Fright Night. $i. 

#1 02 Interviews: 
Steven Spielberg, Mel 
Blanc, Michael 
Douglas, Irwin Allen, 
Kirstie Alley, Mary 
Woronov, Doug 
Adams. Enemy Mine. 

ISSUE: Making an SF 
Movie. Interviews: 
Daryl Hannah, Rutger 
Hauer, Harve Ben- 
nett, Rob Bottin, 
Elmer Bernstein. 
AUEN. Star Wars. 
Raiders. Blade Run- 
ner. $4. 

#1 04 Interviews: 
Peter Mayhew, 
Stephen Collins, Lou 
Gossett, Ken 
Johnson. V. Outer 
Limits. Twilight Zone. 

#1 05 Interviews: 
Chris Lambert, Colin 
Baker, Jonathan 
Pryce. Planet ol the 
Apes. Manhattan 
Project. V. Brazil. The 
Shadow. Japani- 
mation. $4. 

#106 Interviews: 
Leonard Nimoy, Tim 
Curry, Clancy Brown, 
Terry Nation. ALIENS. 
Big Trouble. Twilight 
Zone. Gobofs. Japani- 
mation. $4. 

#107 Interviews: 
Jim Henson, Tom 
Cruise, Terry Dicks, 
W.D. Richter, Jean M. 
Gun. Cocoon. $4. 

#108 STARLOG's 
10th Anniversary. In- 
terviews: Gene Rod- 
denberry, Martin 
Landau, Chuck 
Jones, Kurt Russell, 
Rod Taylor, David 
Hedison, John 
Badham, Kenny 
Baker. Sac/t(of/ie 
Future's "Other 
Martyr AUENS. Short 
Circuit. Terminator 

#109 Interviews: 
Jim Henson, John 
Carpenter, Sigourney 
Weaver, Ally Sheedy, 
George Takei. $4. 

#110 Interviews: 
Ray Bradbury, Jim 
Cameron, David 
Cronenberg, Leonard 
Nimoy. ALIENS. The 
Fly. Back to the 
Future. $4. 

#111 Interviews: 
Sarah Douglas, 
Marshall Brickman. 
StarTrek IV. ALIENS. 
Dr Who. $4. 

#113 Interviews: 
James Doohan, 
Robert Bloch, Rick 
Baker. Sfa/-7re/c/V. 
Little Shop of Horrors. 
Twilight Zone. Star- 
man TV. $4. 

#114 Interviews: 
Leonard Nimoy, Guy 
Williams, Robert 
Hays, William F. 
Nolan, Gareth 
Thomas. American 
Tall. $4. 

#115 Interviews: 
DeForest Kelley, 
Chris Reeve, Jenette 
Goldstein, Tom 
Baker, John 
Carpenter. Captain 
Future. Twilight Zone. 
ALIENS. $4. 

#116 Interviews: 
Nichelle Nichols, 
Catherine Hicks, 
Majel Barrett, Robin 
Curtis, Grace Lee 
Whitney, Paul 
Darrow. $4. 

#117 Inten/iews: 
Catherine Mary 
Stewart, Mark Lenard, 
Adam West, Terry 
Nation. RotyoCop. 
John Carter of Mars. 
Nightfiyers. $4. 

#118 Interviews: 
William Shatner, Rod 
Taylor, Jeff Morrow, 
Michael Keating. $4. 

#119 Interviews: 
George Takei, Kenwin 
Mathews. Superman 
iV. Spacebails. Doc 
Savage. $4. 

11th Anniversary & 
Special Salute to Sfar 
Wars. Interviews: 
Mathews, Margot Kid- 
der, Richard 
Maibaum. Innerspace. 
Predator $6. 

#121 Interviews: 
Chris Reeve, Mel 
Brooks, Joe Dante, 
John Lithgow, Peter 
Weller, Karen Allen, 
Jacqueline Pearce. 

#1 22 Interviews: 
Special James Bond 
Film Salute. Inter- 
views: Martin Short, 
Duncan Regehr, 
Mariel Hemingway, 
Daphne Zuniga, 
RoboCop. Lost Boys. 
Witches of Eastwick. 
Snow White. $4. 

#123 Interviews: 
Nancy Allen, Dolph 
Lundgren. In- 
nerspace. Next 
Generation. James 
Bond. $4. 

#1 24 SPECIAL 

ISSUE. Star Trek: The 
Next Generation. One 
Step Beyond. Gerry 
Anderson. $6. 

Clip or Copy 


Send cash, checker 
money order payable 

475 Park Avenue South 
New York, NY 10016 


Back Issue prices Include postage for 
regular 3rd Class delivery (4 to 6 weeks). 
For super-quick service. Include your 
own SELF-ADDRESSED 9" x 12" 
envelope. 1 st Class postage can e Ither 
be included with payment or affixed to 
the envelope with the correct number of 
American stamps. NO POSTAGE 
STAMPS. We will process these orders 
the same day they are received, and you 
should have them within two weeks. 
Issues 2-8 & 10 are reprinted. 
Issues 1 , 9 & 1 1 2 are sold out. 

1 magazine: add $1 .50 1st Class 

For back Issues, NYS residents add sales tax. 

2 magazines: add $2.25 1st Class 

3 magazines: add $3.00 1st Class 

For MORE THAN 3 magazines, send 
TWO or more envelopes with ap- 
propriate 1st Class Postage on each. 
1st Class order with Incorrect postage 
will be sent via 3rd Class Mall with no 


For all countries other than U.S., 

Canada, & Mexico, above rates DO 

NOT apply. 

Printed Matter Air Mail: add $2.25 per 


Please send me the following back issues of 

Issue # . 
Issue # . 
Issue # . 
Issue #. 

Postage $ . 
Total Enclosed $ . 




. Price $ . 
. Price $ . 
. Price $ . 
. Price $ . 
. Price $ . 


If you don't want to cut out coupon, we accept written orders. 






A master of science 

fiction & fantasy 

celebrates 50 years 

of professional 

writing with a jaunt 

through the 

fantastic past. 


The trouble with golden ages is that 
you never know you're living in one 
until after it's over. 

The period from 1937 to 1941 has been 
called the Golden Age of Science Fiction. 
This is exactly the time when 1 got started as 
a science-fiction writer and made a modest 
reputation in that field. Perhaps you would 
like to hear what it's like not only to live 
through a golden age but also to be one of 
the actors in the scene. 

In 1936, I was working for the Interna- 
tional Correspondence Schools in Scranton, 
Pennsylvania, giving a course on inventions 
and patents. My old college roommate at 
California Tech, Dr. John Drury Clark, was 
working for General Electric in Schenec- 
tady, New York. Clark put me in touch with 
a local friend, P. Schuyler Miller, who 
worked for the Schenectady public school 
system and wrote SF on the side. Schuyler 
and I began collaboration on a novel. Genus 
Homo. We finished it in 1938 and finally 
sold it to a magazine in 1940. 

My friend Clark lost his job with GE and 
;ame to New York to seek another. Every 
few weeks, I came in to visit him. To keep 
on eating, Clark, a more faithful reader of 
science-fiction pulps than I, wrote a couple 
?f stories. I helped him with the plotting. He 
sent them to Astounding Stories and sold 
them. So, I wrote a couple on my own time 
and, to my astonishment, sold them, too. I 
thought: Wheel Why hasn't somebody told 
■ne about this? It sure beats working! Dur- 
ing the next year, I wrote more stories and 
articles and sold most of them. 

On April 3, 1937, I came to New York. 
That evening, I went to Clark's apartment 
and found a gathering of people connected 
.Nith science fiction. One was John Wood 
Campbell, still freelancing and l^lf-a-year 

Movers and shakers of SPs Golden Age assemble during summer 1937. Kneeling are 
Otto Binder, Manly Wade Wellman and Julius Schwartz. Standing are Jack William- 
son, L. Sprague de Camp (with pipe), John D. Clark, Frank Belknap Long, Mort Weis- 
Inger, Edmond Hamilton and John W. Campbell. 

from his editorship of Astounding. Another 
was Mort Weisinger, editor of Thrilling 
Wonder Stories, not yet joined by its pulp 
companion Startling Stories. I met Julius 
Schwartz (STARLOG #115), working as an 
SF literary agent, and Jack Binder (rhymes 
with "cinder"), an illustrator for the 
science-fiction magazines. Binder's 
brothers. Earl and Otto, had collaborated 
on stories under the name of "Eando (that 
is, E and O) Binder." Earl dropped out; but 
Otto continued, using the name "Eando 
Binder." When I was getting established as 
a fictioneer, Otto and I read and criticized 
each other's manuscripts. 

During the rest of that year, I attended 
gatherings of the professional science-fiction 
group that coalesced in New York. Besides 
those already mentioned — Jack and Otto 
Binder, Campbell, Clark, Schwartz and 
Weisinger — regulars included Arthur J. 
Burks (1898-1974), an active pulp writer 
whose main forte was the weird but who 
also wrote science fiction. Having been a 
soldier, he often used his military experience 
in stories. 

Another of the gang was Edmond 
Hamilton (1904-77), a lean, sharp-nosed, 
swarthy man, a leading writer of space 
opera (and the Captain Future series, see 
STARLOG #115), and a longtime friend of 
Jack Williamson. The pair were sometimes 
called "world-wrecker Hamilton and world- 
saver Williamson," since both wrote many 
stories wherein the world either was 
destroyed or was saved from annihilation at 
the last minute. Their favorite type of story 
was summarized thus: "Three go out to save 
the world. One goes mad; one is eaten by 
the Things; and one returns to tell the tale." 

Hamilton later married the handsome, 
energetic pulp writer Leigh Brackett 

(STARLOG #115), one of the ablest noble- 
barbarian storytellers. She might have done 
better than I at carrying on Robert E. 
Howard's Conan series. 

Still another was the stout Otis Albert 
Kline, active both as an author and as an 
agent. He was best known for Martian and 
Venerian novels in obvious imitation of 
Edgar Rice Burroughs. As an agent, he had 
been based in Chicago, where his clients had 
included Robert E. Howard (1906-36), the 
creator of Conan the Barbarian. Howard 
had shot himself a little less than a year 
before I first met the group in Clark's apart- 
ment. Kline was still peddling some of 
Howard's tales; but I didn't know this, be- 
ing ignorant of Howard and his works. 

An active member was Henry Kuttner 
(1914-58), a small, dark, quiet man who was 
for years the most prolific single writer of 
imaginative fiction. This wasn't realized at 
the time because Kuttner used at least 17 
pseudonyms. He was very versatile, writing 
fantasy, space epics, humor and tales of 
atomic doom with equal facility. He cor- 
responded with H.P. Lovecraft, the great 
horror-fantasy writer, about whom I was 

L. SPRAGUE DE CAMP is a grandmaster 
of science fiction. His novels include the 
classic Lest Darkness Fall (Del Rey), the In- 
compleat Enchanter fantasy series (with 
Fletcher Pratt) and the Conan saga (conti- 
nuing and editing Robert E. Howard's 
stories). De Camp is also noted for his non- 
fiction, such as The Ancient Engineers and 
Lost Cities and two acclaimed biographies 
Lovecraft and Dark Valley Destiny: The 
Life of Robert E. Howard (with Catherine 
Crook de Camp & Jane Whittington Grif- 
fin). He examined Edgar Rice Burroughs' 
Mars books in STARLOG #117. 

STARLOG /November 1987 15 


for the 


With 8 Different Adventures Based 

on the James Bond Movies . . . 

You Can Be 007! 

^^^S^^Sos, and 

THE BASIC SET, $13.00 

Including all the rules you need, 
the Basic Set gets you Into the 
action, danger, and excitement 
of James Bond adventure! 

P'^cover Clue', t ' *^-°° 

'" -^ View to 


Q MANUAL, $10.00 

The Bond fan's guide to weapons, vehicles, and 
covert devices used by Bond, plus many other 
fascinating items. 

CLIP Ofl copy 

Send Check or Money Order to: STARLOG PRESS, 475 Park Avenue South, New York, New York 10016 
Indicate Quantity 

. Q Manual Supplement, $10.00 

.James Bond 007 Boxed Basic Set, $13.00 

. Goldfinger Adventure, $8.00 

. Octopussy Adventure, $8.00 

. Gamesmaster Pack, $9.00 

. Dr. No Adventure, $9.00 

_ For Your Information Supplement, $10.00 

.You Only Live Twice Adventure, $8.00 

. Live and Let Die Adventure, $9.00 

.Thrilling Locations Supplement, $10.00 

.Goldfinger II Adventure, $8.00 

. Man With the Golden Gun Adventure, $8.00 

.A View to a Kill Adventure, $8.00- 


10% If you live in the US. 

20% if you live in Canada or Mexico. 

30% if you live overseas. 






. ..nnn.. ©Danjag S.A. (1961) 
A Product of VICTORY GAMES, INC., New York, New York 10001 ©Eon Productions Llmlted/Glidrose Publications UmitedOgSS) 

also ignorant. Lovecraft had died in his 
native Providence, Rhode Island, less than 
three weeks before my first meeting with the 
group at Clark's. 

Lovecraft suggested to Kuttner that he try 
collaboration with another correspondent, 
Catherine L. Moore, whom Kuttner married 
in 1940. Thereafter, they worked in col- 
laboration until Kuttner's longstanding 
heart disease slew him. 

During Lovecraft's sojourn in New York, 
1924-26, a similar group had formed about 
him, meeting more or less weekly. They call- 
ed themselves the Kalem Club because the 
names of the first members all began with K, 
L or M. After Lovecraft returned to Pro- 
vidence, he visited New York from time to 
lime, such visits being occasions for Kalem 

Following Lovecraft's last New York visit 
in early 1936, the Kalems became inactive. 
Since several former Kalems belonged to the 
new clique, it might be called the Kalem 
Club's reincarnation. It never had a name or 
an organization. It was just a group of 
friends with common interests in science fic- 
tion and fantasy. It swelled to about a dozen 
people but members drifted in and out as 
:hey moved to or from New York. 

The group got together more or less 
monthly for an evening of lively talk, 
followed by ice cream, cake and coffee. 
Some meetings took place in New York Ci- 
:y; some in Weisinger's house in Union City, 
New Jersey; some in Campbell's apartment 
:n Orange, New Jersey. 

To ourselves, we were just a group of 
struggling would-be writers, laboriously 
sounding out copy at half-a-cent or a cent a 
>ord. We had no notion that we were 
eading actors in any Golden Age; if anyone 
.lad told us that, we should have said he was 

.Another of the gang was Manly Wade 
Wellman (1904-86), a big bear of a man 


In 50 years of professional writing, this 

grandmaster has penned enough to fill 

volumes of The Best of L. Sprague 

de Camp. 

born in Africa of missionary parents. 
Wellman was a prolific and versatile writer, 
with a beautiful blond wife, Francis, 
towards whom he was fiercely protective. In 
John Thunstone, a psychic detective-hero of 
Wellman 's stories in Weird Tales, he 
described himself. A man of strong likes and 
dislikes, he was so suave in personal contacts 
that the object of his dislike might never 
realize what Wellman thought of him. 

Finally, we had Jack Williamson, 
"world-saver Williamson," who with his 
friend Hamilton and with Edward E. 
Smith — "Doc Smith" — constituted the 
leading space-opera writers of the time. 
Williamson is a tall, big-boned, rugged- 
looking man with a cowboy slouch, shy and 
taciturn with strangers. The son of a 
Southwestern cattleman, he began to write 
in the late 1920s and to travel about the 
United States >and Latin America. He work- 
ed as a cowboy with Hamilton, and once the 
pair guided a flatboat down the Mississippi 
in imitation of Huckleberry Finn. Later, 
Williamson became a professor at the 
University of Eastern New Mexico. 

Amazing Storytellers 

At the end of 1937, I moved back to New 
York to take a job as one of the editors on a 
trade journal. The publisher, Leod D. 
Becker, was a strange man — a capitalist 
right out of The New Masses. I was not very 
sorry when, after three months, Becker 
apologetically called me in to say that, most 
regretfully, he was forced to let me go. 
Financial stringency compelled him to fire 
his two most junior editors. Years later, I 
learned that Becker was confined in a pad- 
ded cell in an asylum as a dangerous 
paranoiac. I had the morbid satisfaction of 
knowing that, of my various misadventures, 
this one at least had not been my fault. 

I then took the plunge into fuUtime 
writing, reasoning that, having made a cer- 
tain sum working five hours a week on my 
own time, if I worked 50 hours, I should 
earn 10 times as much. There is a fallacy 
there, because one runs into a law of 
diminishing returns; but I still found that I 
could make a living freelancing, be my own 
boss, work sitting down, and wear out aU 
my old clothes. Except for my war service, 
practically speaking, I've been at it ever 

According to de Camp, SF's astounding 
heyday, the Golden Age of 1931-47, 
marked the glory that was. 

L. Sprague de Camp celebrates "the 
smartest move of his life," marrying his 
wife, Catherine Crook de Camp. 

like Campbell, Wellman and Theodore 

Sturgeon appeared occasionally at the 

Pratts'. In a sense, the Pratt circle might be 

considered a successor to the previous infor- 

I mal New York group, which was inactive. 

% At one gathering at the Pratts', I met a 

6 small, spare man named Seabury Quinn. In 

I his time, Quinn was the most popular single 

£ author for Weird Tales, eclipsing even 

The title for de Camp's novella, Divide and 
Rule, was suggested by legendary Astoun- 
ding Editor John W. Campbell. 

Of the 70-odd stories and articles that I 
wrote down to my joining the Navy in 1942, 
nearly all were submitted first to John 
Campbell, since he was the contact in the 
field whom I knew best and since he paid the 
highest rates. Of the manuscripts I sent him, 
he bought all but a few. Of his rejects, some 
I sold to other publications; some have 
never been published and probably should 
never be. 

In 1939, John Clark (who soon gave up 
fiction writing) introduced me to the writer i 
Fletcher Pratt. Pratt wrote books on ' 
military and naval matters, history, 
biography, science fiction and fantasy; so 
we had much in common. He also ran a 
monthly naval war game in his New York 
apartment, using hundreds of scale models 
of real warships, which Pratt made of balsa 
wood, wires and pins. The players crawled 
around the floor pushing models the 
distances allowed by the speeds of the cor- 
responding ships and writing down 
estimated ranges. After each move, the 
referees chased the players off the floor, 
measured ranges, and calculated damages. 

Pratt was a small man (5' 3") who wore 
thick tinted eyeglasses, baggy tweed suits 
and loud shirts. An upstate 'New Yorker 
whose college career had been cut short by 
his farmer father's poverty, he had been a 
professional boxer, a librarian, a reporter 
and an employee of a phony creative writing 
school. He and his artist wife Inga shared 
their apartment with a dozen squeaking 
marmosets, which Pratt fed on squirming 
yellow larvae, mealworms. 

Pratt was known for his lavish hospitality 
and ebullient sense of fun. The wargame 
regulars included several writers, especially 
of SF and fantasy, such as Malcolm 
Jameson and Lawrence Manning. Others 

Lovecraft and Howard. By a curious coin- 
cidence, Quinn was in the undertakers' 
equipment business. When not trafficking in 
coffins and embalming fluid, he wrote 
endless fantasies about a French psychic 
detective, Jules de Grandin (who never 
learns the English for many common words) 
and his dimwitted stooge Dr. Trowbridge. 
Quinn told us how one of his business 
trips took him to New Orleans. After his 
deals had been made, the others escorted 
him to one of the fanciest bordellos. When 
the ladies of the establishment found that 
their guest was Seabury Quinn, the great 
writer for Weird Tales, whereof all were 
avid readers, they were so honored by his 
presence that they offered him one on the 
house. Quinn said he politely declined; and, 
ironically. Weird Tales wasn't at all a lewd 
or salacious magazine. 

Astounding Editors 

In late 1937, Campbell became editor of 
Astounding Slories, whose title he soon 
changed to the more dignified Astounding 
Science Fiction. Campbell had a technical 
background, being a graduate of Duke 

University and having worked in a 
laboratory but he also showed a keener ap- 
preciation of literary values than was usual 
among pulp editors and writers. He actively 
coached his authors, suggesting ideas and 
criticizing their manuscripts in detail. 
Several writers still active, such as Isaac 
Asimov, Robert A. Heinlein and myself, 
matured under Campbell's guidance. The 
literary standards of the genre of im- 
aginative fiction rose so markedly that the 
early years of Campbell's editorship came to 
be called the Golden Age of Science Fiction. 

Camobell's paternal efforts didn't work 
well in my case. The only time I took a plot 
suggestion from him, he rejected the 
resulting story, which I sold elsewhere. On 
the other hand, he suggested the titles for 
my early novel Lest Darlcness Fall, my first 
work of fiction to appear in book form, and 
my novella Divide and Rule. His suggestions 
were obviously better than my original titles. 

Campbell also attracted his own circle of 
satellite friends, several of who would gather 
at his apartment in New Jersey on Sunday 
afternoons. On one such visit, I met Willy 
Ley, who had left Germany by a ruse when 
Adolph Hitler came to power and was now 
earning a living by writing articles in 
English, French and German for periodicals 
in lands where those languages prevailed. 
Ley and I became close friends; but then. 
Ley was so amiable that many considered 
themselves his friends. ("Ley" in German 
sounds like the English "lie," but he 
anglicized the pronunciation to "lay.") 

Ley tried his hand at fiction and sold four 
stories under the name of "Robert Willey." 
When he complained to me of lack of ideas 
for stories, I asked: 

"Willy, how long do you try to think up a 
[story before you give up?" 

"Oh, an hour or two." 

"Good God!" I said. "It may take me 
several days to plot a short story and weeks 
to plot a novel. You're not giving your sub- 
conscious a chance to work." 

But Ley gave up fiction to concentrate on 
articles and books popularizing science, 
especially astronomy, space travel, rocketry 
and biological subjects like evolution, 
zoomythology, and "living fossils." 

Others at these Sunday afternoon at the 
Campbells' included Asimov (whom I 
already knew), Heinlein and George O. 
Smith. Once Heinlein fed the teetotaling 
Asimov a Cuba Libre, telling him it was 
Coca Cola. Realizing that there was 
something odd about what he had drunk, 
the normally ebullient Asimov became un- 
characteristically quiet, promoting Heinlein 
to say: "When you give Isaac a drink, it 
sobers him up!" 

In spring 1939, I made the smartest move 
of my life when I asked Catherine Crook to 
marry me. During the following months, I 
took my fiancee to the Campbells' apart- 
ment on several Sundays. The first time, she 
found John Campbell sitting in an arm- 
chair, unable to rise because of the 
manuscripts spread out on his lap and on 
the chair arms. He handed her one of these, 

18 ST AKhOG/ November 1987 

"Read this and tell me what you think!" 

"But 1 don't know anything about 
science fiction!" she protested. 

"Fine! Then, you can give me an unbias- 
ed opinion." 

So, Catherine read. Campbell watched 
her closely, now and then speaking up to 
say, for example: "You smiled just now. 
What did you find amusing?" 

Fantastic careers 

The science-fiction fans were beginning to 
organize into that large, disputatious sub- 
culture called science-fiction fandom. The 
editors of some pioneer SF pulps had 
organized clubs as auxiliaries to their 
magazines, but these clubs had petered out. 
Several clusters of fans then formed their 
own clubs and issued little amateur 
magazines. In 1936, seven New York fans, 
calling themselves the International Scien- 
tific Association, went by train to 
Philadelphia to meet an equal number of 
Philadelphian fans. This was the first 
science-fiction convention (a gathering ex- 
amined by David Kyle in STARLOG #1 1 1). 
The first National Science Fiction Con- 
vention was staged by the New York fans in 
Newark in spring 1938, with about 125 con- 

The International Scientific Association 
split like an amoeba into two hostile 
aughter cells, the Queens Science Fiction 
Association and, in Brooklyn, the 
Futurians. The latter included Isaac 
simov, Frederik Pohl and Donald A. 
/olheim. It also harbored several members 
i)f extreme political views, including one 
"ommunist and one Fascist. Most of these 
ell away from these extremes during the 
ext decade as a result of disillusioning 
vents in Europe and the Soviet Union. 

On the Independence Day weekend of 
^939, the Queens Science Fiction Associa- 
3n staged the first World Science Fiction 
Convention in a hall in Manhattan, drawing 
150 to 250 fans. Some Futurians appeared 
ith pamphlets denouncing the "scoun- 
rels" running the convention and were bar- 
from entering. Fans came from as far as 
Jifornia; among these were super-fan For- 
st J Ackerman and a lady fan (or fenne), 
lyrtle R. Jones. These twain appeared in 
uturistic costumes of emerald silk, thus 
rting the custom of costume parties and 
ontests, which has featured SF conventions 
ver since. 

In August, Catherine and I were married, 
iut our honeymoon was first postponed 
vhile 1 finished Lest Darkness Fall. Then, 
tie honeymoon was shadowed by the out- 
break of general war in Europe. 
Later that year, Pratt suggested that he 
nd I collaborate on a fantasy. I was 
aturally flattered. The story and its sequels 
»ere based on the premise that, by 
nanipulating symbolic logic, one could 
isfer oneself to any one of a number of 
sible universes, such as those described in 
n>ihs and epics. The first milieu to which 
^e sent our hero, Harold Shea, was that of 
4orse mythology; the second, that of 
enser's Faerie Queene. ^ 

These novellas, of which there were even- 
tually five, were aimed at Campbell's new 
magazine, devoted mainly to fantasy. He 
titled it Unknown but later changed the 
name to Unknown Worlds, because news- 
stand proprietors tended to go blank when 
asked for an unknown magazine. 

Campbell's main inspiration in launching 
this magazine was a novel by a British 
writer, Eric Frank Russell. This novel, 
Sinister Barrier, was featured in the first 
issue. I became a regular contributor to 
Unknown while it lasted, both in collabora- 
tion with Pratt and on my own. Alas, in 
1943, the magazine succumbed to the war- 
time paper shortage. Street and Smith did 
not revive it after the war because, while it 
had not actually lost money, they thought 
other projects more profitable. 

In 1942, I went off to war as a fresh- 
hatched lieutenant in the Naval Reserve. As 
a result of politicking by Robert Heinlein, I 
was assigned to a laboratory at the 
Philadelphia Naval Base. For three-and-a- 
half years, I navigated a desk and fought the 
war with a flashing slide rule. Bob Heinlein 
came there also as a civilian engineer, and 
Isaac Asimov as a chemist. 
We worked in different 
sections but, with 
our ladies, got 

The first SF/(antasy 
conventions beganln the 
late 1930s, not as a 
gathering of de Campian 
wizards, but as an 
assemblage of 
future-thinl(ing fans. 

together on weekends when we could spare 
the rationed gasoline. 

Heinlein was a regular naval officer, 
retired early in his career for reasons of 
health. It must have irked him to see me, 
with the merest smattering of Navy ways, 
running around with pretty gold stripes on 
my sleeves. But he was a good sport, and his 
advice more than once saved me from mak- 
ing a bigger ass of myself than I otherwise 
might have. 

Other colleagues, too, went off to war; we 
once had a visit from Staff Sergeant Jack 
Williamson. Kuttner became a soldier but 
was soon given an honorable discharge 
when i^ transpired that Army life was driv- 
ing him literally crazy. Of the 20-odd science 
fiction and fantasy pulps that flourished in 
1940, most of them perished of the paper 
shortage; and the absence of many regular 
contributors to those 
remaining brought 
many new writers intoj 
the field. So ended 
I lie Golden Age. ■# 


compiled & Edited by 

Eddie Berganza & Daniel Dickholtz 


OK, boys and girls, the secret word for this 
month is c/ub— as in the Cool Official Pee- 
wee Herman Fan Club. Those wishing to 
join other admirers of the grey-suited, red- 
bowtied, high-topped one in a frenzied Te- 
quila dance can apply to Pee-wee Herman 
Productions, Box 48243, Dept. RS, 7610, 
Beverly Boulevard, Los Angeles, CA 90048. 
Memberships include an autographed 
photo plus a one-year newsletter subscrip- 
tion for $5 plus 50c handling. Also 
available to members are Souvenir Giant 
Underpants, size 60, with Pee-wee's face 
on them. So, no big buts about this, join 
the club (aw, we said the secret word)! 

The Fan Network invites contributions 
from readers; photos, cartoons, convention 
and fanzine reports and news about fan organiza- 
tions and activities. No fiction or poetry. Nothing 
can be returned unless accompanied by a self- 
addressed, stamped envelope. Address all cor- 
respondence to: Daniel Dickholtz, STARLOG 
Fan Network, 475 Park Avenue South, New 
York,- NY 10016. 

Nobody beats The Wizard of Oz. 

Directory to SF & 
Fantasy Clubs 

Assembled by MIKE clyer 

Please note: inclusion here does not nec- 
essarily indicate endorsement of any 
club by STARLOG. And STARLOG is no! 
responsible for information or spelling er- 
rors in these listings or changes in member- 
ship fees and privileges. Always wnle firs! to 
any club, including a self-addressed, stamp- 
ed envelope (SASE) to confirm informa- 
tion, membership costs and the club's con- 
tinued existence. 


The Prisoner Appreciation Society (Six of 
One). "The only outlet for Prisoner fans officially 
recognized by ITC Entertainment," writes 
American Coordinator Bruce Clark. Membership 
($30 US, 4^20 UK) brings one five quarterly mail- 
ings. Memberships go direct to Six of One, P.O. 
Box 66, Ipswich IP2 9TZ, England, and should be 
paid in the form of an International Money Order 
made out to "Number Six." For information (on- 
ly), Bruce Clark can be contacted at P.O. Box 
172, Hatfield, PA 19440. 

Tiie Roclcy Horror Appreciation Society. Con- 
tact: Lawrence Laney Loftin, P.O. Box 1147, 
Monroe, LA 71210. Membership of $5 per year 
gets fans the society's monthly newsletter. 

International Space: 1999 Alliance. Contact: 
John and Kathy Von Kamp, 86 First St., New 
London, OH 44851-1 196. Membership: $8 US, $9 
Canada, $12 other countries. Members receive six 
issues of the club newsletter Main Compuier. The 
Alliance runs an annual convention centering on 
Space: 1999 and other Gerry Anderson produc- 

Tlie Count Dracula Fan Club. Contact: Ann 
Hart, Executive Secretary, Penthouse North, 29 
Washington Square West, New York, NY 10011. 
With nearly 4000 members, the club offers a long 
list of souvenirs, services and publications for its 
$40 membership fee. 

International Frankenstein Society. Contact: 
Ann Hill, Executive Membership Secretary, IFS, 
Penthouse North, 29 Washington Square West, 
New York, NY 1001 1 . Lifetime membership costs 
$12, for which one receives various souvenirs. 

International Association of Space Philatelists. 
Contact: Bill York, President, P.O. Box 302, 
Yonkers, NY 10710. Space Hotline: (914) 
793-1406. Membership: $5 per year. Meets three 
times per year at New York City stamp shows. 

British Science Fiction Association. Contact: 
Sandy Brown, Membership Secretary, 18 Gordon 
Terrace, Blantyre, Lanarkshire, Scotland G72 
9NA. US Agent: Cy Chauvin, 14248 Wilfred, 
Detroit, MI 48213. Yearly dues: $14 (or -b7). 
Mem bers receive bi-monthly mailings. BSFA meets 
in London each month and boasts 2000 members 

The International Wizard of Or Club Inc. Con- 
tact: Fred M. Meyer, Secretary, 220 N. Uth 
Street, Escanaba, Ml 49829. Yearly dues: $10. 
Holds three annual meetings, one in each area of 
the US (East, Midwest, West). Boasts 2000 
members who are interested in all aspects of Oz. 

The Count Dracula Society. Contact: Dr. 
Donald A. Reed, President, 334 West 54th Street, 
Los Angeles, CA 90037. Three levels of member- 
ship; Honorary, $10, receives membership card. 

20 STARLOG/ November 1987 

Regular, $20, receives card and invitations to 
screenings. Leader, $50, receives various 
souvenirs and screening invitations; gets to vote in 
annual awards. 

SF & Fantasy Workshop. Contact: Kathleen D. 
Woodbury, 1193 S. 1900E, Salt Lake City, UT 
84108. This is a correspondence writers' 
workshop which critiques manuscripts, and runs 
articles on writing. There is a one-time $5 fee, plus 
SIO yearly membership dues. The workshop 
newsletter is $12 per year. 

Robin of Sherwood North American Branch. 
Contact: P.O. Box 37654, Omaha, NB 68137. 
This group seems to have been especially inspired 
by the HTV/Showtime series about Robin Hood. 
Yearly dues: $5. Membership includes: a quarterly 
newsletter, Shot in the Dark, and souvenirs. 

Believer. A club for believers in UFOs. Contact 
Mike Mansfield, President, 220 Filmore Ave., 
New Orleans, LA 70124. Yearly dues: $4. 
Membership includes: membership card and three 
r.ewsletters per year. 

.\involf Recovery Team. Contact: Steve Har- 

:;:ng, 1913-D Darby Road, Havertown, PA 

9083. Yearly dues: $10. Membership includes: a 

ard, a pin and the bi-monthly newsletter The In- 

elligence Report. 

The American Underground Network of 
Tomorrow People. Contact: T.C. Kirkham, 
-resident, 1242 Sheridan Drive Apt. M, Lan- 
^ner, OH 43130. A fan club for the 1970s TV 
eries The Tomorrow People. For information, 
rnd SASEand$l. 

E.G. Fan Club of America. Contact: Thomas 
::ouss, 100 Smyrna St., West Springfield, MA 
: !089. 

Dracula and Company. Contact: P.O. Box 

.3, Metairie, LA 70004. Yearly dues: $15. 

Membership includes: a membership card, the 

rwsletter The Coffin Courier, and The Vampire 

urnal. (Without a subscription to the Journal, 

ues are $7). 


.Alabama: North Alabama Science Fiction 

association. Contact: Richard Gilliam, P.O. Box 

•57. Huntsville, AL 35815. Meets the third 

. jrday of each month at First American 

.jcral Savings and Loan, 4008 University Dr. 

■ A', Huntsville, AL. Membership: $15 annual 

:-es, including monthly clubzine The NASFA 

-Utile. The club hosts an annual convention, 

. ^nstellation, in October. 

Alabama: Magic City Fantasy Club. Contact: 

rben Cooke, President, 414 Fifth Street West, 

- rmingham, AL 35204. Yearly dues: $15 for in- 
■ iduals, $25 for a family; includes a subscription 

; 'he clubzine Worlds of Wonder. Meets the last 

-nday of each month at the Birmingham Public 

-.3rary, 21st Street North, at 3 p.m. 

Arizona: Central Arizona Speculative Fiction 

V Contact: Bruce Farr, P.O. Box 11743, 

V, AZ 85061. Yearly dues: $12. Meets the 

jay of the month at Cafe Casino, SW cor- 

24th Street and Camelback, at 8 p.m. 

.: of the annual convention Coppercon, 

. : the 1987 NASFiC Cactuscon. 

California: Avalon. Contact: Laurine White, 

-22 Colusa Way, Sacramento, CA 95841. Yearly 

- -es: $3. Membership includes: monthly newslet- 
;-. Meets the third Saturday of the month in 

embers' homes. This is a chapter of the 
:;.ihopoeic Society. 

California: Los Angeles Science Fiction Socie- 
r>. Contact: Mike Glyer, 11513 Burbank Blvd., 

— .n Hollywood, CA 91601. Membership: $5 
. . . ;o join, and dues per meeting attended ($1 per 

rek, scaling down to $35 per year). Meets every 

Thursday at 8 p.m. at the LASFS Clubhouse, ad- 
dress above. The oldest and largest SF club in the 
world. Monthly clubzine: De Profundis, Quarter- 
ly genzine: Shangri L' Affaires. Annual conven- 
tion: Loscon, on Thanksgiving weekend. 

California: Fandom Allied Network (F.A.N.). 
Contact: Chris Mackey, 714 N. Court, Visalia, 
CA 93291. Dues: $1 per meeting. Meets once a 
month at Mackey's Collectables Shop. 
Telephone: (209) 733-9492. 

California: The Spellbinders, Inc. Contaa: 
Dave Smeds, P.O. Box 1824, Santa Rosa, CA 
95402. For writers, artists, and fans of SF & F, in- 
terested in providing comments and critiques of 
fellow members' manuscripts and artwork. Meets 
on alternate weekends in members' homes. The 
club sponsors Octocon each year. 

California: USC Comics Club. Contact: 
Heritage #103, USC, Los Angeles, CA 
90089-0890. No dues. Members must be Universi- 
ty of Southern California students, staff or facul- 
ty with an interest in comics. Meets bi-weekly dur- 
ing the school year in Topping Student Center, se- 
cond floor. Telephone: (213) 745-0851. 

Connecticut: Connecticut Science Fiction 
Society. P.O. Box 855, Danbury, CT 06813. Con- 
tact: Kennedy Poyser, 167 Main St., Danbury, 
CT 06810. Telephone: (203) 798-8236. Member- 
ship: $16 per year, which includes membership in 
NESFA (see Massachusetts listing). Meets month- 
ly at Courtyard Books, 167 Main St., Danbury, 

Florida: Nova Odysseus. Mailing address: P.O. 
Box 1534, Panama City, FL 32402-0123. Contact: 
Robert Teague, 1900 Clay Ave., Panama City, 
FL 32405. Telephone: (904) 769-1869. Yearly 
dues: $10. Meets alternate Sundays in members' 

Florida: South Florida Science Fiction Society. 
Mailing address: P.O. Box 10743, Ft. Lauderdale, 
FL 33307. Contact: Pam Parsons, Secretary, 
same address. Yearly dues: $10. Meets monthly at 
a site in Dade, Broward or Palm Beach County. 
Club publishes a monthly newsletter, SFSFS 
Shuttle, and genzine Solstice. Sponsors annual 
convention Tropicon. 

Georgia: Middle Georgia Society for Fantasy 

No tricks, but there are treats aplenty for 
fans of the Count (George Hamilton) who 
once fell In Love at First Bite. 

and Science Fiction. Contact: Roland Castle, 4315 
Pio Nono Ave., Macon, GA 31206. Telephone: 
(912) 781-6110. Yearly dues: $6. Meets the first 
Sunday of the month at 6 p.m., at the address 

Idaho: Fantasy Futures. Mailing address: 10378 
Fairview #152, Boise, ID 83704. Contact: Betty 
Sheridan, 9117 Halstead Dr., Boise, ID 83704. 
Dues: $3 per month. Meets the first Monday and 
third Tuesday of each month at the Labor Center, 
16th and Bannock, in Boise. 

Illinois: Queen To Queen's Three. Contact: 
Mike Jencevice or Brendan Lonehawk, P.O. Box 
87331, Chicago, IL 60680. Membership: $10 per 
year attending, $7.50 per year correspondence. 
Meets the first Sunday of the month; contact for 

Illinois: The Skaro Hunting Society. Contact: 
D.B. Killings, P.O. Box 1356, Streamwood, IL 
60103. Interested in media SF, Japanimation, 
Doctor Who. Meets the first Saturday of thi. 
month at noon, in the Oak Park Maze-Branch 
Public Library, corner of Gunderson and Har- 


6oMe yeovLB 


Indiana: Universal Fantasy Organization 

(UFO). Contact: Kurt Fritz, President, P.O. Box 
12731, Ft. Wayne, IN 46864-2731. Telephone: 
(219) 485-5793. Yearly dues: $12. Meets twice a 

Iowa: Cedar Rapids Science Fiction Discussion 
Group. Contact: Diana Pesek, 936 20th Ave. SW, 
Cedar Rapids, lA 52404. No dues. Meets the se- 
cond Friday of the month in members' homes. 

Kentucky: Falls of the Ohio Science Fiction and 

Fantasy Association (FOSFA). Contact: Grant 
McCormick, Secretary-Treasurer, P.O. Box 
37281, Lousiville, KY 40233-7281. Telephone 
(502) 935-2497. Yearly dues: $15. Meets the se- 
cond Sunday of the month at the Museum of 
Science and History, 727 West Main St., 
Louisville, KY 40202. Publishes monthly club- 
zine, Fosfax. 

Louisiana: University Science Fiction and Fan- 
tasy Association. Contact: David D'Amico, P.O. 
Box 23198, Baton Rouge, LA 70893. Member- 
ship: $5 per semester for LSU students and staff. 
Meets alternate Thursdays at 7 p.m. in the LSU 
Student Union building. 

Louisiana: Rebel Alliance Science Fiction Club. 
Mailing address: c/o M. Myers, 16716 Bristoe, 
Baton Rouge, LA 70815. Contact person: 
Michael Scott, 4414 Hollywood, Baton Rouge, 
LA 70805. Telephone: (504) 356-3350. Yearly 
dues: $5, plus $2 per family member. Meets the 
last Monday of the month in the Main Library at 
7 p.m. Publishes a quarterly newsletter. 

Louisiana: Scotlahdville Magnet High SF Club. 
Contact: Jessica Styons, 4414 Hollywood, Baton 
Rouge, LA 70805. 

Louisiana: Capital City Tardis-Companions of 
Doctor Who. Contact: Wade Dugas, P.O. Box 
80808, Baton Rouge, LA 70898-0808. Yearly 
dues: $8. Meets the fourth Saturday of the month 
at the Main Baton Rouge Library. 

Louisiana: Baton Rouge Science Fiction 
League Inc. Contact: J.R. "Mad Dog" Madden, 
P.O. Box 14238 Baton Rouge, LA 70898^238. 
Telephone: (504) 769-0361. Yearly dues: $5. 
Meets the second and fourth Thursday of the 
month at the East Baton Rouge Parish Library 
(main branch) at 7 p.m. The club publishes a bi- 
monthly newsletter, and hosts the annual Swamp- 

Louisiana: Four Adam Thirty. William Shatner 
fan club. Contact: Gail D. Manfre, President, 408 
Lee Drive, Slidell, LA 70458. Membership: ladies 
only, $5 per year. Meets the last Saturday of the 
month at 1331 Robert E. Lee Blvd., New Orleans, 
LA. Send SASE for information. 

Maryland: Baltimore Science Fiction Society 
Inc. Mailing address: P.O. Box 686, Baltimore, 
MD 21203. Club phone answering machine: (301) 
889-3290. Membership: $15 per year. Meets the 
second Saturday of the month at 2233 St. Paul 
Street (bottom bell) at 8:30 p.m. (The club rents 


Questions aboui the cons listed? 
Please send a self -addressed, 
stamped envelope to the address 
listed for the con. Convent ioneers, 
please nore: Send all pertinent info 
no later than 6 inonihs prior to the 
event to STARLOG Convention 
Calendar. 475 Park Ave. South, 
New York. NY 10016. STARLOG 
makes no guarantees, due lo space 
limitations, that your con will be 
listed here. This is zfree ser\ice: to 
ensure a listing in the magazine, 
contact Connie Banleii 
(212-689-2830) for classifed ad rates 
and advertise your con in the 
classified ad section, too. 



Oclober 9-11 

Rovacon 12 
P.O. Bo.i 117 
Salem, VA 24153 
(703) 389-9400 


Oclober 10 
■rem Temple 
Wilkes-Barre, PA 

Dreamwerks Productions 
65 Jovce Street 
Moosic, PA 18507 
Guests: Leonard Nlmoy, 
STARLOG Editors David 
McDonnell & David Hutchison 


October 16-18 

Sabaf Park Holiday Inn 

Tampa, FL 

Stone Hill SF .Association 
P.O. Box 2076 
Riverview, FL 33569 


October 16-18 
Central Piaia Hotel 
Oklahoma City. OK 

SoonerCon 3 
P.O. Box 1701 
Bethany, OK 73008 


Oclober 16-18 

Ramada Inn Spa 

Evansville. LN . 

Con tact -5 
P.O. Box 3894 
Evansville, IN 47737 


October 17-18 
Sheraton Design Center 
Ft. Lauderdale, FL 

P.O. Box 786 
HoUj'wood, FL 33022 
(305) 925-2539 




October 23-25 
Amherst. MA 


RSO 104 

Campus Center, UMASS 

.Amherst, MA 01003 



Oclober 23-25 
J. Wayne Reitz Union 
University of Florida campus 
Gainesville, FL 


300 J. Wayne Reitz Union 
University of Florida 
Gainesville, FL 32612 


October 24-25 
West Park Hotel 
Leesburg, VA 

Novag III 

101 E. Holly Avenue 

Suite 16 

Sterling, VA 22170 


October 24-25 
Ambassador Hotel 
Los .Angeles, CA 


Guest: DeForest Kelley 


October 31-.November 1 
Everett Pacific Hotel 
Everett, WA 

Dreamcon 2 

1321 N.S.E. Everett Mall Way 


Everett, WA 98208 

Guests: Terry Brooks, Richard 

Wendy Pini 


Oclober 31-November 
Princess Kaiulani Hotel 
Honolulu. HI 

Guest: George Takei 


October 31-November 1 
Albany Hilton 
Albany, NY 

Guest: Walter Koenig 



Oclober 30-November 1 

Lansing Hilton Inn 

Lansing. MI 

Blue Blaze Irregulars 

1634 Seven Trails Ct. 

Okemos, Ml 48864 



October 30-November 1 
Holiday Inn 
Somerville, MA 

Alternative Factor LTD 
P.O. Box 3437 
J.W. McCormack Station 
Boston, MA 02108 

22 SVA^l^OG/ November 1987 

-e basement of two apartment buildings). 100 

Massachusetts: New England Science Fiction 

Association. Contact: Priscilla Pollner, P.O. Box 

3 MIT Branch PO, Cambridge, MA 02139. 

Telephone: (619) 625-2311. Membership: various 

evels; Subscribing membership for $15 per year 

- ?tains club newszine Instant Message. Meets 

■ ice a month: Once at the NESFA Clubhouse, 

.4 Medford St., Somerville, MA, and secondly, 

e Other Meeting is hosted by a member at 

ome. Sanctioning: "more than most believe." 

"ne club holds Boskone, one of the largest SF 

nventions, each Presidents' Day weekend 

rebruary). More than 380 members. 

Maryland: Maryland Space Futures Associa- 

,on. Contact: S. David Ross, Chairman, 3112 

>:amp Union Building, College Park, MD 20742. 

'elephone: (301) 454-4234. Yearly dues: $5. 

!eets during the semester each Tuesday night in 

e Stamp Union Building (University of 

laryland) at 7:30 p.m. 280 members. 

Maryland: Silver Spring Science Fiction Socie- 

■. Contact: Martin Wooster, P.O. Box 8093, 

• er Spring, MD 20907. Telephone: (301) 

-5-7820. Meets the last Wednesday of the 

onth. Sanctioning: Fanzine Control Board. 15 

~ embers. 

Missouri: Spector Comic Book Qub. Contact: 

-ihony Gladish, 3917 Ohio, St. Louis, MO. 

;eets bi-monthly; admission is 50« per meeting, 

.d a dealer's table is $15. 

Missouri: St. Charles Science Fiction and Fan- 

iiv Society. Contact: Virginia Head, 46-A Gary 

., St. Charles, MO 63301. Telephone: (314) 

..i-5161. Yearly dues: $5. Meets the third week 

;he month in FBN Fantasy Shop, 437 Main St., 

Charles, MO 63301 , at 7:30 p.m. 30 members. 

Mississippi: Chimneyville Fantasy & SF Socie- 

. Mailing address: Book Exchange, 1348-B 

.-Dowell Rd., Jackson, MS 39204. Contact: 

.ih M. Shields, 1410 McDowell Rd., Jackson, 

5 39204. Yearly dues: $10. 10 members. 

Sew Jersey: Memory Alpha Science Fiction 

lion Group. Mailing address: Ridgefield 

ic Library, 527 Morse Ave., Ridgefield, NJ 

7. Contact: Roberta Rogow, Librarian, P.O. 

1 124, Fair Lawn, NJ 07410-1 124. Telephone: 

II) 941-0192. No dues. Meets the second 

lesday of the month (except July and 

t) in the Ridgefield Public Library at 7:30 

There's a league of comics clubs available 
to superhero fans. 

p.m. 12 members. 

New York: New York Game Board. Contact: 
Robert Sacks, 4861 Broadway 5-V, New York, 
NY 10034. The members are organizers of 
wargaming conventions and events at wargaming 
and science-fiction conventions. Meets annually, 
usually the first Saturday in January, or when 
business requires. 1 1 members. 

New York: New York Science Fiction Society 
(The Lunarians Inc.) Contact: Louise R. Sachter, 
Secretary, P.O. Box 338, New York, NY 
10150-0338. Yearly dues: $10. Members must at- 
tend a minimum of three business meeting a year. 
Meets monthly at the Vanderbilt YMCA, 224 
East 47th Street, New York, usually on the third 
Saturday of the month (check first, meetings are 
rescheduled to avoid conflicts with major conven- 
tions). The club holds Lunacon each March. 50 

New York: The Long Island Science Fiction 
Society. Contact: Michael Pinto, President, P.O. 
Box 275, Merrick, NY 11566. Meets once a 
month. Holds an annual convention, Shorcon. 

New York: NYUSFS. Contact: Marc S. 
Glasser, P.O. Box 1252 Bowling Green Station, 
New York, NY 10274. Meets every Thursday in 
Washington Square Park at 5 p.m. (when the 
weather's nice), and under the front overhang of 
the' NYU Library when it rains; indoors during 
the winter (check for location). 30 members. 

New York: ROSTIRASA. Mailing address: 
211 East Chestnut St., East Rochester, NY 14445. 
Contact: De Ghysel, same address. Telephone: 
(716) 331-2805. 

North Carolina: Exploring Strange New 
Worlds. Contact: Annie Slonski, 206-149 Loft 
Lane, Raleigh, NC 27609. Membership: $2 per 
meeting attended. Meets the second Simday of the 
month at the address listed above, at 2 p.m. 

Ohio: Ohio Gaming Association. Contact: Bob 
Kindel, P.O. Box 24, Cuyahoga Falls, OH 44222. 
Telephone: (216) 923-5183. Yearly dues: $6. 
Meets quarterly. Publishes a fanzine, maintains 
convention lists. 70 members. 

Ohio: NEOSFA (NorthEast Ohio SF Associa- 
tion). Contact: Michelle Canterbury-Horton, 
P.O. Box 5641, Cleveland, OH 44101. Yearly 
dues: $5. Meets the third Saturday of the month 

at the Lakewood Public Library (except in sum- 
mer). Publishes a newsletter, runs the annual con- 
vention Earthcon. 

Ohio: Terran Travelers. Contact: Lila Reech, 
6503 Marsal, Apt. 104, Mayfield Heights, OH 
44124. Yearly dues: $5. Meets monthly at the 
Cleveland Community College. Publishes a Doc- 
tor Who newsletter. 

Ohio: USS Pulsar. Star Trek group. Contact: 
Marylee Holzheimer, 3545 Radchff Rd., 
Cleveland, OH 44121. Meets monthly. 

Ohio: Time Masters of the Space Academy. 
Contact: Sam Matthews, President, P.O. Box 
91124, Cleveland, OH 94101. Yearly dues: $5. 
Meets twice a month at a local college, to discuss 
all aspects of science fiction. 

Ohio: Starward Bound; Contact: Mike Ken- 
nedy, P.O. Box 33322, Dayton, OH. Yearly dues: 
$6. Meets once a month at various libraries, and 
special interest group meets again during the 
month. 52 members. 


October 30--November 1 
.Marriott Hotel at LA Airport 
Los Angeles, CA 

Los Angeles Festival 

P.O. Box 11641 

Fon Worth, TX 76109 



November 6-8 
Sberaloit Beach Inn 
Virginia Beach, VA 

Sd Con 9 
P.O. Box 9434 
Hampton, VA 23670 


November 6-8 

Hyatt Regency Woodfteld 

Schaumburg, IL 

Windycon XIV 
P.O. Box 432 
Chicago, IL 60690 
Guest: Jane Yolen 


November 7-8 

Etoiiday Inn Center Oly 

Philadelphia, PA 


249*t Hillside Avenue 
Beilerose, NY 1 1426 
(718) 343-0202 

BASH "87 

November !•% 
HjatI Regency Hotel 
Cambridge, MA 

Bash '87 

P.O. Box 6838 

Broad & Water Post Office 

Boston, MA 02102 


-November 13-15 
HoUdav Inn Westlake 
Cleveland, OH 

P.O. Box 5641 
Cleveland, OH 44101 
(216) 871-6000 
(216) 5|9-1940 


November 14-15 
Hyatt San Jose 
Sati Jose, CA 

(718) 343-0202 


November 15 
Holiday Inn 
Albany. NY 

FantaCo Enterprises, Inc. 
Attn: Tom Skulan 
21 CCTitral Avenue 
.Albany, NY 12210-1391 


November 27-29 
Pasadena Hilton 
Pasadena, CA 

Los Angeles Science Fantasy 


11513 Burbank Boulevard 

North HoUywood. CA 91601 


November 27-29 
darion Hotel 
New Orleans, LA 


Convention Committee 

5200 Conti Street 

New' Orleans, LA 70124 




November 27-29 
Penta Hotel 
New Vork, NY 

(718) 343-0202 


November 27-29 
Marriott Park Central 
Dallas. TX 

Bulldog Productions 
P.O. Box 820488 
Dallas, TX 75382 
(214) 349-3367 



December 4-6 
Holiday Inn Oceanside 
Ft. Lauderdale. FL 

So. Florida SF Society 

P.O. Box 70143 

Ft. Lauderdale, FL 33307 



January 22-24 
LandmaHt Hotel 
Melatre, LA 

New Orleans SF/Fantasy Festival 
P.O. Box 791089 
New Orleans, LA 70179-1089 
Guests: George R.R. Martin, 
George Alec Effinger 

"STARLOG's Birthday Fantasy." 
a I5-minuie 16mm color film, is 
available for screening at your con- 
vention, schools or club. 
Organizers, write for details: 
"STARLOG's Birthday Fantasy," 
475 Park Avenue South, NYC 
10016, or (England) contact Pamela 
Barnes, c/o Fanderson, P.O. Box 
308. London W4 IDL. 

ST ARhOG/ November 1987 23 

Oregon: Portland Science Fiction Society 
(PorSFiS). Contact: YaLeah, P.O. Box 4602, 
Portland, OR 97209. Telephone: (503) 281-8183. 
Dues: $7. Meets alternate Saturdays in BPA 

Auditorium, NE 9th and HoUaday, at 2 p.m. 80 

Oregon: Friends of the Doctor. Contact: 
Michael P. Parker, P.O. Box 17655, Portland, 
OR 97217. Telephone: (503) 283^1060. Meets 
every other Saturday at the Multnomah County 


Any Star Trek fan worth his space-salt 
(calm down, Mrs. Crater) knows who 
T'Pau is— she's the big, bad Vulcan 
matriarch who asks such probing questions 
as "Are ye Wulcan, Splock, or are ye 
Hewlman?" Well, now there's a new T'Pau 
on the planet, and this incarnation doesn't 
officiate over life and death struggles on op- 
pressively hot Vulcan nights— it sings! 

By now, many of you have heard "Heart 
and Soul," and while the tune is rather ap- 
pealing, we're sorry to report that T'Pau's 
interest in Star Trek goes no further than 
borrowing the name. 

"They're really not Trekkies," reports 
one employee of T'Pau's record company. 
"She [lead singer Carol Decker; no relation 
to Matthew and Will] was just flipping 
through the channels one night. Star Trek 
was on and she heard the name T'Pau and 
liked the sound of it." 

No word as of yet on whether the original 
T'Pau will journey through time and space 
to sue. 

—Richard Gilbert 

Funny, she doesn't look Vulcan. 

main library, at 1:30 p.m. Publishes newsletter 
Chronic Hysteresis monthly, subscriptions $1 per 
issue. 200 members. 

Tennessee: CHATSFIC. Contact: Zanny 
Leach, 168 North Crest Road, Chattanooga, TN. 
Yearly dues: $20. Meets monthly; contact for 
schedule. 40 members. 

Texas: Cepheid Variable. Mailing address: Box 
J-1, Memorial Student Center, College Station, 
TX 77844. Telephone: (409) 845-1515. Yearly 
dues: $5. Meets on alternate Tuesdays on the 
Texas A&M campus at 7:30 p.m. Publishes 
newsletter Slarburst monthly. Sponsors weekly 
movies, and AggieCon, the largest annual SF con 
in the southwest. 

Utah: Provo Vortex. Contact: Melva L. Gif- 
ford, 230 S. 500 E., Provo, UT 84601. Telephone: 
(801) 373-2451. Interested in Doctor Who and 
Blake's 7. Meets monthly on a Saturday evening: 
Contact for schedule. 

Utah: Utah Fan Organization. Contact person: 
Karen Serrasio, 4111 W. 5010 S., Kearns, UT 
84120. Telephone: (801) 968-6091. No dues. 
Meets monthly at the Granger Library. 15 

Washington: Northwest Science Fiction Society 
(NWSFS). Contact: Judy Suryan, P.O. Box 
24207, Seattle, WA 98124. Telephone: (206) 
723-2101. Yearly dues: $12 (US), $15 (outside 
US), for a subscribing membership. Club 
publishes excellent monthly fanzine Westwind. 
350 active members. Meets monthly, check for 

Wisconsin: Madison SF Group. Contact: 
Jeanne GomoU, c/o SF3, P.O. Box 1624, 
Madison, WI 53701-1624. Telephone: (608) 
255-9909. Membership: basic membership in S¥\ 
the club corporation, is $9. Meets weekly on 
Wednesdays at Nick's Restaurant, 226 State 
Street, at 7 p.m. except the last Wednesday of the 
month, when the meeting is held at Union South 
on the University of Wisconsin campus, 227 N. 
Randall Ave., at 7 p.m., for a prepared program. 
\ladsl publishes a bi-monthly zine, CuIk. and 
a tominist fanzine, Aurora. The club sponsors an 
annual convention, Wiscon. 100 members. 

24 SJKKLOG/ November 1987 

British Columbia: UBC Science Fiction Socie- 
ty. Contact: Kyle R. Kirkwood, Box 75, S.U.B., 
University of British Columbia, Vancouver BC 
V6T 2A5 Canada. Telephone: (604) 228-3835. 

fYearly dues: $7. Publishes literary science-fiction 

|magazine Horizons. 

British Columbia: The Ether Patrol. Contact: 

FStuart A. Royan, 337 Carrall Street, Vancouver 
BC V6B 2J4 Canada. Dues: $20. Meets 
Thursdays at 102.7 FM, at 9:30 p.m. The Ether 
Patrol is Canada's alternate SF radio program, 
sanctioned by Vancouver Co-Operative Radio. 

Australia: Melbourne Science Fiction Club. 
Contact: Phillip Mlodarczyk, P.O. Box 212, 
World Trade Center, Melbourne VIC 3005 
Australia. .Membership: $10 (Australia), $12 
overseas. Meets weekly at St. David's Uniting 
Church Hall, 72 Melville Road, West Brunswick, 
Melbourne. Check with them for schedule. 

Australia: Hitchers Club. Hitchhiker's Guide 
J the Galaxy club. Contact: 9, Harcourt Road, 
Boronia, VIC, Australia. Publishes Australian 

United ICingdom: ZZ9 Plural 
Z Alpha. Contact: Rob Larsen 
.Membership Secretary, 14b, 
Montpelier Road, Peckham, 
London, SE 15 2HF, 
England. Membership: 
t8 Air Mail, t5.50 
Sea Mail; for the 
quarterly newsletter. 


Lt. Saavik (Robin Curtis, pictured in her 
civvies) downplayed her "bad blood" 
around her fellow Starfleet officers and 
even tried to cover up her shady past on 
an abandoned Romulan colony, but that 
didn't stop her homeworld from including 
her in the Hellguard Social Register. Those 
interested In discussing what she was real- 
ly like as a kid, mapping out IHellguard's 
terrain and either expanding the Romulans' 
empire or just expounding on their culture 
should contact Tim Blaes, Route 6, Box 
294, Hendersonville, NC 28739-9659. Please 
note, though, that Klingon cronies need 
not grace these social pages. 


STAKLOG/November 1987 25 



Reign of 

Facing alien Invasion from outer space yet 

again, Earth's most powerful puppet heroes 

strike back— but struck out. 


For 22 years, Gerry Anderson was in 
constant production of television 
series and feature films. But 1977 
marked the end of an era, as Anderson 
finished a frustrating second season of 
Space: 1999, unable to save it from cancella- 
tion. For the next few years, Anderson laid 
low, considered doing a Thunderbirds 
revival and pursued a TV franchise in 
Southern England. His marriage to Sylvia 
Anderson, co-creator of the Supermariona- 
tion series, ended. Failing to gain the broad- 
cast franchise he sought, Anderson and his 
new partner Christopher Burr pondered a 
return to television. Many things had chang- 
ed in the six years since Anderson had left, 
and he was almost in the position of starting 
all over again. 

Funding for a new puppet TV series came 
from Japan, Where Anderson's shows are 
longtime favorites. The first series from 
Anderson/Burr, Terrahawks, follows the 
adventures of an elite fighting force called 
upon to repel invaders from outer space. 
The alien threat is actually a family of an- 
droids who destroy a NASA base on Mars, 
and use the planet as a base to launch at- 

MIKE CLARK, senior STARLOG cor- 
respondent, profiled Guy Williams for 
STARLOG #114. 

tacks against Earth. Defending Earth 
are the courageous Terrahawks. 

From their secret "Hawknest" 
base in South America, the 
Terrahawks are commanded by 
Dr. "Tiger" Ninestein, a 
ninth generation clone. 
Ninestein is a superb 
military tactician and a relentless fighter. 

Captain Mary Falconer pilots the Bat- 
ilehawk, flagship of the fleet berthed 
beneath the "White House," Ninestein's 
palatial home. Mary, a powerful intellect 
with a daredevil streak, also serves to remind 
Ninestein of the "human element" involved 
in command decisions. Lt. Hawkeye flies 
Hawking, a fighter designed for use in 
Earth's atmosphere. Hawkeye's ready smile 
and Southern charm bring a touch of grace 
to Hawknest. Captain Kate Kestrel, known 
to the world as a popular rock star, is really 
the Terrahawks' undercover agent. A flam- 
boyant entertainer, Kestrel's colorful per- 
sonality extends to her hsiir, which changes 
color along with the hue of her clothing. She 
travels to recording sessions in Hudson, a 
talking Rolls Royce also capable of changing 

Positioned between Earth and Mars is 
Spacehawk, manned by the brilliant 
Japanese scientist, Lt. Hiro. Backing up the 

Terrahawks are hundreds of spherical 
robots called "Zeroids." The Zeroids are 
armed and ready to roll to assist Ninestein 
by performing missions where humans can- 
not. Zeroids man the Battletank on Earth 
and position themselves as gunners on 
Spacehawk. Heading the Earth-based 
Zeroids is Sgt. Major Zero, a British-style 
drill Sergeant constantly under the scrutiny 
of Ninestein, who suspects that the orbs 
have minds of their own. 

Leading the alien attack is Zelda, the 
oldest (186) and wisest inhabitant of the 
planet Guk, located in the Alpha Centauri 
system. Zelda is a combination of humanoid 
and machine, and capable of controlling 
matter. Once a slave on Earth in an ancient 

t26 STKKhOG/November 1981 

A military tactician and a good fighter, Dr. 
Tiger" Ninestein leads the Terrahawks. 

Captain Mary Falconer pilots the 
Terrahawks into adventure. 

The tresses and wardrobe of the Ter- 
rahawks' flamboyant undercover agent, 
Kate Kestrel, change color according to 
her mood. 

ilization, Zelda was expelled and consign- 

- to Guk, and now wants to destroy ail 
:.rthlings and claim the planet as her own. 
:e is a villain in the "Snidely Whiplash" 
idition, full of bravado with a downright 
iity cackle, who maintains complete con- 
;! over her underlings, including sister 
;. star, a bubbly blonde accustomed to 
lowing all of Zelda's directions, as is 
-ngstar, Zelda's son. Cystar eventually has 

offspring who joins the villainous crew, 
imed Itstar, the young android is a "goy- 
-i"— half cute little girl, half Nazi, evil lit- 

- boy. 

Zelda also commands her own version of 
e Zeroids, square robots called "cubes", 
a summons a variety of extraterrestrials to 
:t against the Terrahawks. The Sporilla is 
-able of monstrous physical acts, while 
; Sram's thunderous voice creates destruc- 
e vibrations. The Moid can become a 
feet copy of any person, the Tamura is 
independent warrior in the Samurai 
. jition, and then there's Yuri, a very cute 

space bear. Beneath the cuddly exterior, 
however, is a telekinetic force capable of 
bending steel. 

After years of struggling to hide 
marionette strings in his Supermarionation 
series, producer Gerry Anderson made the 
decision to use puppets controlled from 
below, "Muppet style," and to make the 
characters on a larger scale. A typical Ter- 
rahawks figure is 30 inches high, compared 
with the Supermarionation average of 22 in- 
ches. The head is a fiberglass mask covered 
with flexible latex, allowing the operator to 
use his hand in moving the character's 
mouth, without any tell-tale cracks, such as 
those seen on ventriloquist dummies. The 
character's eyes are remotely controlled by 
cable, and the arms are worked from inside, 
using rods. Like Supermarionation, the 
voices are recorded in advance, and played 
back on the set. To bring a separate identity 
to his new process, Anderson coined the 
name "Supermacromation," and borrow- 
irig a title from the show's Rolls Royce, Ter- 
rahawks was filmed in "Hudsoncolor" (its 
1960s counterpart was "Videcolor," used 
on Stingray and Thunderbirds.) 

Sixty-five episodes of Terrahawks were 
filmed at the Bray Studios outside London, 
the former home of Hammer's horror film 
series and Space: 1999'% effects crew. Ter- 

She came from planet Guk— one of the 
cosmic witches attacking Earth. 

How much is that Sporilla in the window? 

STARLOG/Novewter 1987 11 

rahawks was initially broadcast in 1983 on 
England's ITV network, with American sta- 
tions joining up in 1985. (This two-year lag 
is not unusual and goes all the way back to 
Supercar.) The response to Terrahawks 
wasn't as electric as those received when the 
marionette and live-action series were on the 
air, but then Terrahawks wasn't really made 
just to please Supermarionation fans; it was 
supposed to appeal broadly to kids and 
adults. Unfortunately, the kid-influence 
overwhelms the production, beginning witl 
the puppets' appearance. Anderson's 
marionette shows featured a generous 
amount of head-to-toe character shots. 
The Terrahawks characters are usually seen 
waist-to-head, because the operators are just 
below the camera's view. This recalls The 
Muppet Show, and becomes a limitation. 
Even when seeing the full figure, Ter- 
rahawks' characters sit on chairs or consoles 
big enough to conceal an operator below, 
emphasizing the technitjue. The doll-Hke 
proportions don't help the viewer's percep- 
tion that the characters should be taken 
seriously. With the over-abundance of 
medium and close-up shots, Terrahawks is 
somewhat claustrophobic compared with 
the generous sets of Thunderbirds and Cap- 
lain Scarlet. 

Other problems with the characters' 
operations are evident when the characters 
speak — the entire head shakes, and this is 
exaggerated as Zelda literally shakes arid 
vibrates when committing a metaphysical 
act. The childish antics of her son Yungstar 
and sister Cystar don't give the villains any 
sense of real menace, and the monsters, 
however well-designed, are mostly bug-eyed 
creatures. On the heroic side, Ninestein, 
Mary Falconer and Kate Krestel are given 
most of the action, with 
Hawkeye and Hiro making 
cameo appearances. Several 
minutes are spent in 
almost every episode giving 
Kestrel complete musical 
numbers in the 
"Anderburr Records" 

The Zeroids are a saving grace for Ter- 
rahawks; they're not only funny, but 
technically interesting. When a Zeroid 
speaks, his mouth lights up, and his "eyes" 
are represented by red light-emitting-diodes, 
which flash back and forth to convey his line 
of sight. Each Zeroid has a distinct per- 
sonality, and will roll, bounce, shoot and 
fallin the line of duty. 

Terrahawks was released at a time of 
great change in the children's TV market. 
Shows based on toys were now the 
rage — He-Man and others were cleaning up, 
while Terrahawks was sold to programmers 
based on entertainment values. The show 
found a sponsor with Coleco, promoting 
their Sectaur line of warrior toys (Sponsor- 
ing of Terrahawks was most likely the result 
of no Sectaur series being available.) Ter- 
rahawks was adequately merchandised with 
27 toy kits, books, records and home video. 
But bad time slots and minimal promotion 
meant little viewer attention for Ter- 
rahawks, which is still shown in a few 

markets. Anderson and Burr realized that 
Terrahawks wasn't performing up to its 
potential, and out of that disappointment. 
Space Police was born. 

NEXT ISSUE: Gerry Anderson 
speaks— and unveils his newest project. 
Space Police. 

Leaving Terrahawks behind, Christopher 
Burr (left) and Gerry Anderson are ready to 
face new TV challenges. 

The Poster of the Decade is here. 

The heat of battle envelopes the characters. The cool starry night sky promises a boy's 
destiny. The revelation of the past, present and future all at once. A firey turmoil seen 
■-hrough an imaginary window that tells us and shows us what we already know. 

The first ten years of the Star Wars saga is captured for all time by artist John Alvin, who 
also created the unforgettable poster illustrations for E.T., Bladerunner, Gremlins and The 
Star Wars Concert. 

This window on the world of Star Wars is available in a 17"X36" color poster on quality 
100 pound stock for $9.95 (plus handling & shipping) or in a special limited edition series 
of 1500, $24.95 (plus handling & shipping) signed by the artist. Both are shipped in a sturdy 
i-tube (with interior mailing tube). 

Order today. Be part of the wars that started a revolution. 

The Star Wars saga lives on! 

Yes, I want to order the poster of the Decade. 

D Please send poster(s) @ $9.95 ea $. 

□ Limited edition poster(s) @ $24.95 ea $ . 


n $3.50 ea handling & shipping $ . 

D $2.50 ea additional handling & shipping 
for residents of Hawaii, Alaska, Canada 
and other foreign countries. $ . 

Non U.S. residents: Please send check or 
bank draft in U.S. currency drawn against 
a U.S. bank. 

D 6.5% CA sales tax for California residents $ . 

D Enclosed is my check or money order for $ . 

Please make check or money order payable to: 

The Mind's Eye Press 

Star Wars 

P.O. Box 491449 

Los Angeles, CA 90049 

Name (please print) 

Address . 




Please allow 4-6 weeks for deliveiy. 


Where the Journey begins 

TM & © 1987 Lucasfilm Ltd. (LFL). AU rights rescA-ed. Used under authorization. 


Tite Adventures of j, 













While Warner Communications, 
parent company of DC Comics, 
has developed numerous ways to 
commemorate the 50th Anniversary of Jerry 
Siegel & Joe Shuster's Superman, none have 
touched the hearts of fans as much as the 
Warner Home Video releases of Superman 
and the Mole Men. This 1952 feature film 
marked actor George Reeves' first ap- 
pearance as the Man of Steel, a role he 
would carry with him until his tragic suicide ^ 
in 1959. ■ 

In Superman and the Mole Men, the Man i 
of Steel protects a group of underground , 
people who have traveled to the planet's sur- 
face through a man-made tunnel. The hour- 
long feature (split into two parts for airing \ 
on the TV series) was directed by Lee 
Sholem, an industry veteran who had helm- 
ed many B adventure movies in the '40s and 
'50s, most notably a string of Tarzan films 
starring Johnny Weissmuller. In addition, he 
directed half the first season o/The Adven- 
tures of Superman and moved on to various 
assignments in episodic television. He also 
directed more than 200 episodes of This is 
the Life, a syndicated religious series. 

While Sholem dismisses the common 
belief that Superman and the Mole Men was 
a statement against McCarthyism, he is 
justifiably proud of his contribution to the 
Superman legend and pleased that it will 
touch a new generation thanks to the video 

STARLOG: How did you get involved with 
Superman and the Mole Men! 

correspondent, quizzed Superman IV direc- 
tor Sidney J. Furie in issue #123. 



When George Reeves 
took on the insidious 
iviole ivien, it was 
veteran filmmal<er 
Lee Sholem who 
helmed the Man 
of Steel action. 

Lee Sholem (left) also contributed to the adventures of another movie hero, Johnny 
Weissmuller (as both Jungle Jim and himself). 

LEE SHOLEM: Robert Maxwell, who was 
producing, called me out one day to have a 
chat. Apparently, he had heard about me. 
So, I got involved with him, and started to 
woric on the script. He said they wanted to 

get going on the movie in about three weeks, 
and we did. 

STARLOG: When you directed the film, 
was there something about the character of 
Superman that appealed to you? 

30 STARLOG/Novemte/- 1987 

SHOLEM: No, I looked at it as just another 

STARLOG: What did you think of the 
^tory for Superman and the Mole Men! 
SHOLEM: It had continuity to it, it was fun 
and, let's face it, it was for children. They 
enjoyed the rnovie and still do. 
STARLOG: Isn't that particular story more 
universal in the pleasure it brings to both 
adults and children? 

SHOLEM: Many adults are youngsters too, 
you know. 

STARLOG: Why do you think the old 
Superman TV shows have aged so well? 
SHOLEM: Perhaps parents enjoyed them 
and they think their children might enjoy 
them. And when these shows are rerun, Dad 
will be sitting there with the kids and say, 
"Gee, that was a great series." The kids get 
involved with Superman, thinking that this 
could happen, and enjoy it. 
STARLOG: When you did the feature, was 
there any consideration given to bringing 
Kirk Alyn (STARLOG #20) back to play 

SHOLEM: No, never a thought to my 
, knowledge. 

George Reeves had to be a good actor to 
play Superman and his other self Clark 
Kent, says Lee Sholem. 

STARLOG: Who chose George Reeves? 
SHOLEM: I think it was the people heading 
the comics, as well as the producers. I had 
nothing to do with George's selection. He 
was in the picture long before me. In my 
career, I've run into a few actors who got a 
swelled head and began to think'they were 
just as good as the part they were playing. 
They got the big head, but I was tough and 
never put up with it. George Reeves never 
had an ego like that. He was one of the 
finest guys you would ever want to meet. A 
gentleman and a good actor. You would 
have to be to play Superman. 
STARLOG: Did you have much difficulty 
in casting the Mole Men? 
SHOLEM: We needed midgets for the 
roles, and there weren't that many in the 
business. That was really the only problem 
we had. The rest of the people were good 
character actors. 

STARLOG: Were you pleased with Phyllis 
Coates as Lois Lane? 

SHOLEM: She was a doll. A lovely lady. In 
person, she was the same, just a lovely gal. 
Oftentimes, you would call in stunt people 
because you had risky things to do, but both 
Phyllis and George got knocked out cold on 
the same day. Two different scenes, one in 
the morning, one in the afternoon. The 
stuntmen got a little too close to them. In a 
fight, one of the stuntmen actually punched 
Phyllis Coates and knocked her out. But it 
wasn't George's fighting that got him 
knocked out, it was a special effect. We had 
a door rigged so that he could run through 
it, but the crossmembers in this door were 
never taken out. 

STARLOG: And he got knocked right out? 
SHOLEM: Colder than a mackerel! 
STARLOG; What was his reaction when he 
woke up? 

SHOLEM: Stunned. You know, you can't 
rehearse those things. Of course, we fired 
the special effects man after the episode was 

STARLOG: Did you feel as though there 
was a jinx on the set that day? 
SHOLEM: George handled himself 
beautifully, even in fights when he would 
end up with a broken nose. But these things 
happen. You just have to do the best that 
you can. I had an occasion one time where I 
told a stuntman, "OK, here's what I want 
you to do: Run down the street, grab that 
pole where the banner is, and swing up on 
that balcony." "Oh, that's nothing," he 

In addition to helming Superman and the 
Mole Men, Lee Sholem directed half of 
George Reeves' first TV season of The 
Adventure's of Superman. 

said. It took him about 45 minutes to 
prepare for this little stunt that doesn't 
amount to much. I thought he was getting 
nervous, though he denied it. It took him 
another half hour, and by then, I was ready 
to go. I asked, "Do you want to do this? 
I'm ready." He was scared to death. He did 
it, never got up to the balcony and broke 
both legs. They called another stuntman 
out. He arrived, said, "I'm ready," and did 
it so easily that it looked as though he had 
wires on him. Just magnificent! But these 
things happen. Some people will just try a 
stunt because the dough's good. . .and they 
can't make it. 

STARLOG: How difficult were Superman's 
flying sequences? 

SHOLEM: We did it several ways, and the 
way that worked out real well was when we 
made George a body cast to lie on. He 
would lie on this thing and stick his arms out 
with the wind machine going. And you 
could photograph him against a sky and the 
thing holding him could be masked out. If 
you get the same color, say white on white, 
you don't see the white, if you light it pro- 
perly. The wires were done the same way. 
We had this pan, and George could lie in the 
darn thing and there was no problem at all. 
Patience is all it took and a lot of it. 

George was marvelous at going through 
windows and things. We had a board which 
propelled him out the window and he would 
land on a bunch of cardboard boxes. 
George wasn't afraid of anything, although 
(continued on page 87) 

When Superman (George Reeves) finally 
meets the Mole Men, he finds out they're 
not such bad guys— nor are they Invading 

STARLOG/Novewter 1987 31 


For almost ten years, CINEMAGIC 
has been the only personal Tour 
Guide for behind-the-scenes secrets 
of movie magic— for everyone who 
loves 'em! 

Yes, the same amazing magazine which 
teaches the techniques of production and 
special effects, is also the magazine for 
everyone who truly loves motion pictures. 

CINEMAGIC guides you through the magical 
world of production and shows you (in pictorial 
detail) how the illusions of film and video are 
created. Whether you aspire to a career in 
movies or just enjoy watching movies-CINEMAGIC 
helps you to appreciate movies more! 

There's only one serious problem with 
CINEMAGIC-but before we discuss the one bad 
thing, let's look at the many good things . . . 


CINEMAGIC shows you how 
to do things— how to create 
inexpensive sets and props 
that look real— how to do 
amazing make-up effects 
— how to write a script 
and draw a storyboard— how 
to rig cable controls and 
mechanical devices— how to 
build miniature sets, ar- 
matures for your own 
creatures, and achieve stop- 
motion which is smooth and 
realistic— how to accomplish 
special lighting effects, glass 
shots, stunts and action 
scenes, animation, 
casting— tricks with mirrors, 
rubber bands and coat 

In short, CINEMAGIC 
shows you how to create 
Hollywood effects with 
easily-obtainable supplies 
and just a few bucks. 


CINEMAGIC shows you how 
the great filmmakers 
work— how Ray Harryhausen 
made a horse fly in Clash of 
the Titans— how Cecil B. 
DeMille parted the Red Sea 
In The Ten Command- 
ments—how Walt Disney 
risked his entire business, 
against tremendous odds, to 
produce the first full-length 
animated feature. Snow 

In short, CINEMAGIC 
shows you the careers, the 
struggles, and the techniques 
of the most important film- 
makers and the most impor- 
tant films. 


CINEMAGIC introduces you 
to new equipment, special 
gadgets and hard-to-find sup- 
plies. The "Producers' 
Bulletin Board" lists indepen- 
dent films in production and 
helps people find other peo- 
ple who want to work 
together. The "Filmmakers' 
Forum" gives expert answers 
to specific questions and pro- 
blems. And the "Festivals" 
section tells you how to enter 
your show into competition, 
win awards, be seen— and 
launch your career. 

In short, CINEMAGIC is the 

most practical guide to the 
practical problems of break- 
ing into the film field. 



ries very little advertising. It's 
almost all articles, pictures, 
diagrams, interviews and 
editorial information. We give 
you more pages of wor- 
thwhile material, but that 
means the advertisers are not 
there to pay the costs. So 
CINEMAGIC is $3.95 per 
issue— and we are the first to 
admit, that ain't cheap. But 
you get what you pay for! 

And we're about to give 
you a special price break 
which is below the cover 
price— even below the dis- 
count subscription price. But, 
first, let me tell you the other 
bad thing. . . 

CINEMAGIC is hard to 
find. It's not available at all 
newsstands, and you certain- 
ly can't find it at grocery 
store check-out racks. It's a 
very specialized magazine 
and we received letters every 
day, complaining that 
CINEMAGIC isn't to be found 

Now, here's how we turn 
bad things into good. 

If you order a one-year 

Each year, CINEMAGIC spon- subscription right now, we'll 
sors the Short Film Search give you 20% off the newss- 
— a competition for in- land price— and if you spring 

dependent film and video pro- for a two-year subscription 

ducers. Here is your oppor- 
tunity to win a beautiful 
trophy, receive a public 
screening of your film or 
tape, get written up in the 
magazine and open doors to 
exciting professional self- 

Right now you're probably 
saying, "This all sounds so 
good— what's the bad 

Truthfully, there are two 
bad things about 
CINEMAGIC. It is a slick, full- 
color publication which car- 

(Do you think you're going to 
lose your love of movies in a 
year?), we'll give you 30% off 
the newsstand price. 

These are the lowest prices 
ever offered for CINEMAGIC! 

And this offer is good for a 
limited time only! 

If you love making movies 
or watching movies, you owe 
it to yourself to increase your 
knowledge and your pleasure 
by hiring a personal Tour 
Guide to show you how the 
magic happens— CINEMAGIC 

Send cash, check or money order to: 
CINEMAGIC: The One, The Only! 
475 Park Avenue South 
New York, NY 10016 

One Year/Four Issues $12.74 

(represents 20% discount) 
Two Years/Eight Issues $22.12 

(represents 30% discount) 
Foreign Orders: 
One Year $18.98 

(rate includes postage, send 

U.S. funds only) 







NOTE: Please allow four to nine 
weeks for delivery of first issue. Make 
checks payable to Starlog Press. 

It's turnabout (fair play) as parent and child 
switch lives, mix loves and split laughs. 



The generation gap is alive and well in 
Like Father Like Son, a role reversal 
comedy currently in release from Tri- 
i- Pictures. Dudley Moore plays Dr. Jack 
^.Timond, a world-class heart surgeon and 
iowed single parent to 16-year-old Chris 
. rk Cameron, of TV's Growing Pains, in 
; first starring feature role), a fun-loving 
academically unstable high school 
rhomore. Chris just wants to party and 
;re a date with the school heartthrob; 
;k has visions of his son going to medical 
. ool. Chris' slipping grade point average is 
-: one bone of contention between the 
o, making theirs a decidedly love-hate 

Jnwinding one evening after an extended 
:t at the hospital, Jack accidentally pep- 
:s his Bloody Mary with a mysterious po- 
r. Chris' friend Trigger (Sean Astin of 
V Goonies) has "borrowed" from his Un- 

cle Earl, an archeologist who acquired it 
from a Navajo medicine man. Before you 
can say Freaky Friday, Jack's personality 
switches places with Chris', leading to a 
series of social dilemmas (Chris is forced to 
deliver a baby, for example, while Jack has 
to deal with a bully at school) that bring 
them to a new level of mutual understand- 

On the strength of a script by Lome 
Cameron (no relation to Kirk), Tri-Star was 
able to attach Moore and Cameron to the 
project, as well as Splash producer Brian 
Grazer, eventually adding Patrick {Kaz) 
O'Neal and Catherine (Star Trek IV) Hicks 
(STARLOG #116) to the cast and David 
Valdes (associate producer of Sondra 
Locke's Ratboy) as co-producer. When it 
came time to sign a director, Tri-Star presi- 
dent of production Jeff Sagansky thought 
of Rod Daniel, whom he had known since 

their association at NBC, and who had hit 
big with his first feature. Teen Wolf. 

But while he liked the concept, Daniel felt 
the script lacked an emotional subtext. "It 
was basically a surface, funny, mechanical 
script," the Tennessee native explains. 
"Comedically, it was much broader than I 
ever wanted to go. With all due respect to 
Lome, it was really a story about the father 
getting into his son's body and making his 
life better— that was as deep as it got. When 
he went to parties as Chris, he was able to 
say and do things that made him cool and 
made the girls like him. The movie's end was 
an extended chase, with the father and son 
in pursuit of this stolen '55 Chevy— the 

KYLE COUNTS. California-based 
freelancer, has contributed to Cinefantas- 
tique and COMICS SCENE. This is his first 
article for STARLOG. 

STARLOG/November 1987 33 

device that made their identity switch possi- 
ble. In Lome's script, if the car was 
destroyed, they would be trapped in each 
other's bodies forever. The tension came in 
wondering if they would or wouldn't change 

"1 approach movies from an emotional 
standpoint, so I wanted to make a script 
where the underlying statement was, 'The 
other man's grass is not always greener.' I 
thought that would be funnier and more in- 
fteresting to find out that, indeed, we adults 
' think that kids have it made, and kids think 
that we have it made, but walking a mile in 
each other's shoes teaches us differently. 
Once they get into each other's bodies, 
things go into the crapper and they learn a 
valuable lesson in life from their experience. 
It isn't about whether or not they'll switch 
back; the point is that father and son have 
learned to respect and communicate with 
each other." 

Paternal instincts 

With Daniel's input, writer Steven Bloom 
put the script through another draft. Then, 
Cameron penned an additional rewrite— his 
last official association with the film, he 
says, before Back to the Future co-writer 
Bob Gale (STARLOG #110) came in as a 
script consultant and script doctor Dennis 
Klein did a final polish, as he did for Co- 
coon and Never Say Never Again. 

"The name of the movie business is 
rewriting," remarks Cameron, who was 
hired to write Like Father Like Son on the 
strength of a spec script his agent submitted 
to Tri-Star. "What's remarkable is that the 
film got made. I hear stories all the time 
about people who have written 30 scripts 
and got paid well, but never got to see any 
of their work on screen. To see it on screen 
is the thrill of it aU." 

While Cameron acknowledges the 
"valuable contributions" made by Bloom 
(such as the idea of having the transference 
occur through a magic potion rather than an 
electric shock from the '55 Chevy, the 
character of Trigger, certain set pieces), he 
didn't feel Bloom's input necessitated shar- 
ing screenplay credit. Arbitration pro- 

ceedings resulted, but the Writer's Guild did 
not rule in Cameron's favor. While 
Cameron gets sole story credit, the final bill- 
ing for the screenplay reads "written by 
Lome Cameron and Steven L. Bloom," 
with Klein's contribution remaining un- 
credited (a "crime," according to director 

Despite the extensive retooling of his 
script, Cameron doesn't think that the final 
draft is substantially different in tone. "I 
think Bloom brought the characters closer 
to the middle; I had Chris as a bit of a loser, 
and his dad as a bigger, more physically im- 
posing man— someone like Nick Nolte," 
Cameron says. "Kirk is such a good looking 
kid that it's hard to accept him as a loser, so 
that was an immediate problem. Dudley still 
played the part as a domineering figure, but 
he's not in the vein of a Nick Nolte. Ob- 
viously, from the talent that was signed, my 
original conception of the roles had to 

Regarding the movie's emotional subtext, 
Cameron offers, "On that level, I think my 
script is very similar to the final 
draft— maybe not 100 percent, but about 80 
percent. As I see it, my story was about a 
father and son who didn't understand one 
another. By switching bodies, they're able to 
see life through each other's eyes and come 
to a greater understanding of one another, 
of their individual strengths and weaknesses. 
"While my reconciliation came at the end 
of the script's second act— the rest of the 
movie was devoted to their attempts to 
retrieve the car so that they could change 
back into their own bodies— all that is 
basically still there. I think that my script 
was a little stronger as a character piece than 
it now stands, but you're bound to get 
disagreement on that. 

"It didn't please me that I was 
rewritten," adds Cameron, "but I was glad 
that I at least had the opportunity to write 
another draft. All I can is that I saw the film 
a certain way, but I'm not in a power posi- 
tion in the industry, and those in charge did 
what they felt they had to do. If it turns out 
to be a successful film, then I can say all 
those things that are good are mine. If it 

Turnabout is fair play for Trigger (Sean Astin) who arrives wHh a potkm that will produce 
serious growing pains for his friend Chris. 

Hops, I can always say, 'Well, they rewrote 
me, it's not my fault.' " 

"Dudley Moore said that Like Father 
Like Son was the hardest picture he has ever 
made; it certainly was for me," director 
Daniel says. "We decided to confront the 
reality of the situation. At the instant you 
realize you're in someone else's body, what 
would you do? Alfred Hitchcock did this so 
incredibly well: take an average guy from 
the suburbs working nine to five, and put 
him in an extraordinary situation— really 
turning the screws and putting his life under 
a microscope. That can either be the basis of 
a wonderful horror movie or a very funny 

Daniel spent four weeks rehearsing 
Moore and Cameron, two weeks of which 
were devoted to that moment of recognition 
when the transfer occurs. "It was like 
teaching a blind man to walk— it's absolute- 
ly a learning process to be an adult or a 
child," Daniel observes. "For kids, the 
mental and physical process of getting 
through the day is very different than for an 
adult: the way they walk into a room, the 
way they deal with the opposite sex, the way 
they communicate with people in general. 
They haven't been politicized as adults 

Part of the rehearsal time meant getting 
substantial input from Cameron and Moore 
as to how their transposed characters would 
act in a given situation. Daniel would have 
Cameron rehearse a scene down to the 
smallest detail, while Moore observed and 
took mental notes so as to adopt the right 
attitude— and vice versa. There is, after all, 
a "cool" way for a dude to walk into a bar, 
and a methodology specific to performing 
an operation. As Kirk Cameron and Sean 
Astin made clear, there is even a right way 
for a teenager to put on a backpack— a 
scene that was greeted with hoots of ap- 
proval by teens who have attended test 
screenings of the film. 

couch inferno 

While the origins of this role reversal 
genre may be traced back to the days of 
Thome Smith's Turnabout (about a hus- 
band and wife who exchange personalities), 
there have been nimierous other "switch" 
films made. Currently, Columbia's Vice 
Versa, with Judge Reinhold, is scheduled, 
and Tom Hanks' Big reportedly has a 
similar plotline. 

Director Rod Daniel babysits the "young" 
Dudley Moore. 

"These films come in waves," Daniel 
notes, "but I don't know why that is. Every 
;;me someone comes up with a circus script, 
:nere are suddenly 25 circus scripts in town. 
! was at a party recently where there was 
someone from Columbia. We were both 
scratching our heads, wondering why we 
both decided to make these films at the same 
time. We really didn't know why. All I 
■ now is that we're going to be ahead of Vice 
■ersa. There was an arrangment between 
Columbia and Tri-Star [partially owned by 
Columbia] going in that we would be the 
first movie out; consequently, it was a 
"ightmare release schedule. I came out of 
rlevision, so I know how to work quickly. 
3ut I've never done anything as fast in my 
fe. The principal shooting schedule was 47 
lys, with two days of second unit and four 
lys of re-shoots. The editing schedule was 
--eakneck; we had three editors working 
^-ound the clock." 

Daniel isn't convinced that the fantasy 

f!ement of Like Father Like Son is going to 

-:t an audience into the theater. While he 

there is a "certain amount of univer- 

y" to the plot, he feels that the film's 

more likely rests in the drawing 

iwer of Moore and Cameron. In fact, 

er than tag it as a fantasy film, Daniel 

lies he approached Like Father Like Son 

1 he would a horror movie, in this case a 

■ial horror movie. 

The characters deal with their predica- 

as if they had been placed in a science- 

n picture — that's where the comedy 

es from," he says. "I drew enormously 

on the stuff I had done with Michael J. Fox 
in Teen Wolf, when he was first placed in 
that situation. I mean, he was horrified. He 
wanted to scrape his werewolf exterior off, 
and he couldn't, because it was beyond his 
control. It's the same situation here: there's 
nothing that either of them can do about it, 
so they have to make the best of it. Thus the 

Daniel reflects on one moment in the film 
where the comedy was generated spon- 
taneously. "There's a scene in the movie 
where Dudley, as Chris, is confronted by a 
woman who has come to his house for the 
Big Seduction," Daniel explains. "At the 
scene's end, Dudley winds up pushing a 
burning couch through a glass door and into 
a swimming pool. Well, the light was going 
fast, and we had time for one last shot, so I 
had multiple cameras running. 

"What we hadn't counted on what that 
the flames didn't extinguish when the couch 
went into the pool. Nor had we counted on 
the fact that it didn't sink! Well, Dudley was 
great — he just stood there, staying in 
character, his jaw dropping to the floor. He 
was supposed to say a line, so I shouted to 
him, 'Say your line!' He turned to give his 
line to the actress in the scene and just broke 
up. Fortunately, his back was to the camera, 
so I'm using it in the film." 

On a personal level, Like Father Like Son 
was a chance for Daniel to make a footnote 
in his own relationship with his father, who, 
like Moore's character, was also a skilled 

"Because of my relationship with my 

'Cammie Cooper prefers the more "mature" 
Kii1( Cameron— and makes "goonie" Sean 
Astin wait for his mixed-up buddy. 

dad — he was an incredible surgeon, but he 
couldn't relate to me at all — it gave me an 
ending to the picture, an angle on the 
material. The movie I made is about the 
relationship between a father and son, and 
the differences between being 51 and 16. It's 
also about male bonding. 

"It was a great opportimity to explore 
both sides of a relationship, to give the au- 
dience some insight into why people are the 
way they are. If I had known what was go- 
ing on inside my dad," Rod Daniel says, "I 
would have been much more deft in my 
dealings with him. But I didn't, and he died 
before I had a chance to do anything." ^ 

STARLOG/November 1987 35 


''Where No Man 
Has Gone Before 

writer Samuel A. Peeples piloted "Star Trek' 
into new adventures "Beyond 
the Farthest Star." 


m * 

Jhroughout his career, author Samuel 
A. Peeples has carved an impressive 
niche, having written 27 novels, a 
thousand articles, numerous short stories 
and more than 300 produced TV and 
motion picture scripts. 

Among those credits was a science-fiction 
television script called "Where No Man Has 

Gone Before," which just happened to be 
the pilot that convinced NBC to greenlight 
Star Trek as a weekly series. 

"Gene Roddenberry and I had known 
each other from writing Have Gun, Will 
Travel," Peeples recalls. "He was trying to 
start a science-fiction series, and he knew 
that I had one of the largest SF collections in 

sked if he could go through my magazines 

to get some ideas for the Enterprise. Gene 
went through all the covers, and that's really 
how the Enterprise was born." 

Even before he was asked to supply a 
potential pilot episode script, Peeples had 
made a significant Trek contribution. 

"In the beginning, Mr. Spock, as we 
know him now, didn't exist," the writer 
reveals. "He was a red-tailed devil who 
didn't eat. He absorbed energy through a 
red plate in his stomach. This is the way he 
was laid out in the original concept. I argued 

Kirk (William Shatner) 

tries to convince Dehner 

(Sally Kellerman) to join 

him against ttie 


Gary Mitctiell. 

ith Gene that it should be a humanized 
character because I was adamant that it 
should be straight science fiction, without 
fantasy. The first pilot Gene did for NBC, 
"The Cage,' was more of a fantasy than it 
was science fiction. NBC was apparently 
unhappy with it, so they told him they 
would commission a second pilot, and they 
wanted a story. Gene asked me to do it, and 
I did, guessing it would be more of a 
challenge for me because it's easy to open up 
your mouth and criticize somebody else's 
concept. If somebody says, 'OK, let's see 
you do it your way,' you have to prove that 

Had Spock not been humanized by 

Peeples' scenario had the Enterprise at- ~ 
tempt to broach a radiation barrier at the § 
edge of the galaxy, and, as a result, crew 
member Gary Mitchell is slowly metamor- 
phasized into a god-like being, easily 
capable of destroying his former comrades. 

"We were intrigued with the corruption 
of power theme manifesting over the or- 
dinary individual," the author explains. 
"That was the basic premise, and we had to 
put in extrapolation of known scientific 
principles. At that time, the radiation belt 
had been discovered around the Earth, and 
my premise was that galaxies themselves 
might be separated by this type of barrier." 

Due to his involvement in other series, 
Peeples didn't submit any other scripts to 
Star Trek, though he did, ironically enough, 
pen "Beyond the Farthest Star," the pilot 
Busode of the animated Trek. 

secretary when I was at Universal. When she 
was hired as the associate producer, she call- 
ed and said, 'Gene suggested that since you 
had done the pilot for the original Star Trek, 
maybe you would like to do the pilot for the 
animated Star Trek.' And that's what I did. 
The Variety review of the episode, by the 
way, was incredibly positive." 

The segment dealt with a spaceship which 
was actually a living creature that enjoyed 
fiying from one planet to another. 

"They did great animated stories, and 
they didn't write down to children," he 
points out. "Certainly, there had been a 
couple designed for the younger market, but 
most were quite mature." 

Additionally, Peeples was briefly involved 

Star Trek II: The Wrath of Khan. 

"Gene and I talked about it, but I didn't 
like the basic premise," Peeples admits. "I 
was never given an assignment and never 
asked for one. I wasn't happy with what I 
wrote, and neither was the producer, so it 
just died." 

lonetheless, Samuel Peeples is justifiably 
ud of his script for "Where No Man Has 
I ■'^ Gone Before, ' ' and the original goals of Star 

"We were trying to avoid the space-< 
clietea^^gays. "I think Gene and 1 ' 
botwR!§i8lncerned about Star Trek being 
an adult show. One problem, as later 
episodes would prove, was dealing with the 
bug-eyed monsters which never should have 
existed. We both discouraged the idea, 
believing that we should keep things as 
realistic as possible. If a person was different 
physically, then explain the reason for that 
difference. We were actually trying to pro- 
ject reality against an unfamiliar 
background in Star Trek." 






Freddy's sweater! See page 1 


"^Horror Ih Ehtertammektj 


HOUSE 11 preview 
Zombie gunsiinqers • 

The remake! ij^y i 

Sam Raimi on r 


"Slime's no crime! i 


The monster makers 

Ed Wood tribute 

The man behind PLAN 9 


^??'"^ """^ available at 

Waldenbooks and local 

newsstands, or subscribe to 

all three magazines and 


Will HI 

aking of _ 


by Robert (Freddy Krueger) Eng/und 


^amiM ^m ^/a The most popular science fiction 
9TJKnLV%JI magazine in the solar system br- 
ings you all the latest news. TV and film previews, special ef- 
fects secrets, interviews with actors, authors, artists, even 
astronauts', and morel 

^m mM^^^\OKA The magazine of movie chills 
rJmn%MVnM^ and terror, featuring page after 
oaaeof bloody good color photos, scenes from new splatter 
films, interviews with stars, special effects make-up artists, 
movie directors, writers, actors— all the news of horror! 
^^mmtmrmMI M'^^K^ This is the magazine for all 
CKMwBm^%JlK^ young film and video malcers 
—the only publication that teaches the techniques of pro- 
duction and special effects. New equipment reviews, how to 
contact filmmakers in your area, low-budget tricks and tips. 


format wK" U before 

O'QUINN STUDIOS 475 Park Ave. South New York, NY 10016 

DISCOUNT Total Enclosed $ — 

SUBSCRIPTION (=3sf^' '^•^^^'^ °^'^°"Ay 91<^l. 


drawn to O'QUINN STUDIOS) 

12 issues/1 year $27.99 name 
.Foreign: $36.99 



10 issues/1 year $18.98 ^j^;;^ 
Foreign: $24.98 


4 ISSUES/1 year $13.98 


Foreign: $18.98 country 

Please allow 4 to 6 weeks for delivery of first issue. Foreign orders, send U.S. 

_ funds only. 

Tf you do not want to cut our coupon, we will accept written orders. 


prom ''Enterprise" to 
'Earth * Star voyager 

me veteran director 
.vho piloted a TV ""Star 

rrek" launches a new 
inter space adventure. 


ifferent people cling to different 
items they consider to be good luck 
charms, but can you imagine some- 
one bringing luck to a genre? Such seems to 
be the case with motion picture and televi- 
^aon director James Goldstone, whose pilot 
pisode of Star Trek, "Where No Man Has 
Dne Before," sold NBC on the idea of do- 
ing the show as a weekly series. 
Walt Disney Productions is hopeful that 
story will repeat itself now that Goldstone 
just wrapped production of the four 
puT TV mini-series (and pilot) Earth*Star 
byager, which will air in several parts on 
3C's Disney Sunday Movie this season 
'probably next month). 
The film begins with Earth approaching 
; final death throes in the year 2087. Its on- 
r hope is to launch the Earth*Star Voyager 
deep space to search for the planet 
I>emetur, a world which may prove 
Tiabitable by humans. The journey will take than two decades, which is why the 
.-- ■ of 115 consists of youths ranging from 
- -0 25. The series would examine their 
_ : aboard the vessel, and follow the in- 
^ .; as their voyage rapidly becomes a «! 
-..;gle for survival. 

The premise fascinated me," says 

_ Jstone. "1 guess I was interested in the 

-Ti of what space would be like a hundred 

;::5 from now. I found it a challenge to 

return to a geiu-e that I hadn't worked in for 
many years, as well as examine the cultural 
and technical change, and play with some 
new ideas. 1 don't know that the ideas are 
radically new, but I think this picture's look 
is different. The look of the Earth*Star 
Voyager is as different from the Enterprise 
as anything could be. We are now playing 
with computer technology, which isn't the 
way that any of the previous ships have been 
run. This spaceship is somewhere between 
an F-15 and an advanced computer. 

Director James Goldstone piloted the 
Enterprise "Where No Man Has Gone 
Before" and now plans to take the 
Earth' Star Voyager on another odyssey. 

"With designer John DeCuir," 
Goldstone' continues, "we started analyzing 
what the present generation, which is totally 
different from the one that I made the Star 
Trek pilot for, is like in terms of technology. 
The Star Trek pilot was written on a manual 
typewriter. Everything is now written on a 
word processor. There is no kid over age six 
who doesn't think in terms of word pro- 
cessors. This ship is a gigantic computer. 
There's a very real feeling to this 'flying 
machine,' so it's creating a new reality, 
which is what directors do." 

The Children's crusade 

One concern is that a space vessel piloted 
by kids in a project labeled with the Walt 

STARLOG/November 1987 39 

"The look of the Earth 'Star Voyager is as different from the Enterprise as anything 
could be," says Goldstone. 

Disney name means a juvenile approach to 
the material. 

"I've attempted to avoid that," 
Goldstone counters. "It is not a Saturday 
morning kiddie show. Fourteen to 25-year 
olds will identify with Earth*Star Voyager 
because that's the age of the kids on the 
show, but I think their parents, people my 
age, will certainly identify. The humor is 
also more sophisticated than one might an- 
ticipate. I hope that it isn't a cynical picture. 
It is somewhat romantic. There are many 
metaphors which can be examined on an 
adult level which don't have to be 
understood on an entertainment level." 

The same can be said for his first effort in 
the Star Trek universe. In that pilot episode, 
the starship Enterprise approached the edge 
of the galaxy where it was surrounded by an 
energy barrier. The barrier discharged 
energy waves which transformed crewman 
Gary Mitchell (Gary Lockwood) into a god- 
like being with incredible telekinetic abilities. 

"I have a very soft spot iij my heart for 
'Where No Man Has Gone Before,' " 
Goldstone happily admits, "and it is includ- 
ed in the bios my agents use. Both Star Trek 
and Kent State [a 1981 TV movie], two ends 
of the spectrum in terms of material, hold a 
strong and important place in my memory." 

Goldstone had been asked by Trek 
creator Gene Roddenberry to helm the pro- 
gram, which he was happy to do. His first 
task was to view "The Cage," the initial 
failed pilot, so that he could determine what 
NBC didn't want as much as they did. 

"This is distant memory," Goldstone 
says, "but 1 think there had been several 
problems with 'The Cage.' One was that it 

cost so much money and the other was that 
it took so long to shoot. NBC was skeptical 
that a series could be manufactured, so to 
speak, on a weekly basis. One of the re- 
quisites about the second pilot was to shoot 
it in, as I recall, eight days, which would 
then prove to NBC that a weekly series 
could be done in six or seven. We needed 
that extra day because we were doing the 

"The other requisite was that NBC very 
much wanted something that could be com- 
mercial against the police shows and the 
other action series then on television. Things 
haven't changed. The networks always want 
something that will hook the audience and 
keep them." 

Some fans feel that the second pilot is 
quicker paced and more "physical" than its 

"There was some physical action, but il 
wasn't a slam-bang physical show," 
Goldstone observes. "There's also a dif- 
ference between a two-hour show in an em- 
bryonic conceptual form, and something 
that's going to be part of a weekly series. 
Our show wasn't so much a pilot as it was 
an example of how we could go on a weekly 

The Star Trek pilot was immediately ap- 
pealing to Goldstone. He liked Rod- 
denberry's approach of telling essentially 
Shakespearean tales within a science-ficiton 

"The convention with Westerns," 
Goldstone explains, "is that if you take the 
story out of the present and put it into a 
Western setting, people accept those con- 
ventions. You could therefore tell a 

Despite Earth 'Star Voyager't 
young cast Goldstone stresse?^ 
"It is not a Saturday 
morning kiddie show." 

dramatic story which people would accept 
because it wasn't on the streets they lived 
on, but was projected into a different time 
period. On the same level, Star Trek's 
characters and the dramatic conflicts, albeit 
within science fiction, were really human 
conflicts. Now, I don't know if that applies 
to all of the episodes, or any of them except 
the one I did. It would have been miraculous 
if they could have kept it nonmechanistic. 

"Of the scripts NBC had to choose from, 
1 think they chose 'Where No Man Has 
Gone Before' because it seemed to have the 
potential to establish those characters on a 
human level. The only gimmick was the 
mutation forward, the silvering of the eyes, 
and it works because it's simple as opposed 
to the growing of horns or something. Ours 
was a human science-fiction concept, 
perhaps cerebral and certainly emotional." 

More Than Human 

Another important factor in shaping the 
pilot, Goldstone adds, was formulating the 
character of Mr. Spock with Leonard 
Nimoy. The biggest problem was 
establishing an approach to a half-human, 
half-alien character. 

"Spock couldn't just be an extrater- 
restrial," states Goldstone. "He had to be 
human, or have human qualities, for him to 
work. Our approach was, obviously, cor- 
rect, because Spock has now become a com- 
mon noun or adjective, what with Spockian 
and all those things. Leonard and I both 
find it very amusing. He, of course, has built 
an entire career on Spock, and 1 don't mean 
that in a derogatory sense. It's marvelous 
that he's directing, and he's also a very good 
and capable actor." 

The pilot convinced NBC of the show's 
merits, which was particularly pleasing to 

SI hRLOCi' November 1987 



Goldstone who was "more than satisfied" 
:> the way the episode turned out. 

"From a director's viewpoint," he en- 
nuses, "or this director's viewpoint 
:i\ way, you have certain targets and certain 
oblems which have to be overcome in any 
, ven picture, whether it's a $20 million 
jaiure or a TV show. A director measures 

his success in two ways. Obviously, like 
everybody else, you measure it by whether 
or not it's a critical and commercial success. 
But you also measure it in terms of over- 
coming obstacles. The obstacles on Siar 
Trek were budgetary and conceptual, and I 
was proud of the work we were able to do. 
it was a very collaborative effort, as are all 
pilots. Everything was planned in 
meticulous detail. If we didn't move from 
one set to another, or one scene to another, 
by a certain hour, we were in trouble." 

Goldstone directed one other Trek adven- 
ture ("What Are Little Girls Made Of?"), 
but he dismisses it quietly. 

"It was done as a favor to Gene and 
others," he says with a shrug, "rather than 
something I wanted to do. I have no 
memories of it whatsoever." 

That episode notwithstanding, James 
Goldstone is proud of his Star Trek legacy, 
though amusingly confused by it. 

"Some years ago," he says, "1 was in 
New York filming The Gang Thai Couldn 'i 
Shoot Straight, and Jay Cocks, who was 
then the film critic for Time magazine, had 
become a friend. His teenage niece was in 
from the midwest and he asked me if I 
would go to dinner with them because she 
was a Star Trek fan. He, the most influential 
film critic in the United Stales at that time, 
was showing off to his niece that he knew 
the man who directed the Star Trek pilot. 
That stands as a symbol of so many things 
(continued on page 87) 

eonard Nimoy and James Goldstone collaborated to give Kirk (Shatner) a science 
^ficer who was more than "just" an extraterrestrial. 

"There was some physical action, but it 
wasn't a slam-bang physical show," com- 
ments Goldstone of his approach to Kirk's 
(William Shatner) first TV mission— which 
also included Yeoman Smith (Andrea 

Relive your favorite films 

foldout posters, eacti measuring 16" x' 22"-plus 
complete stories of the films, biographies of the stars 
and rare photos! 

OFFICIAL POSTER BOOKS unfold to make a giant 
22' X 33" poster in full color. On the flip side are ar- 
ticles, biographies and additional color photos. 


packed with interviews, articles, behind- 
the-scenes information-plus dozens of col- 
or photos! 64 pages! 

stories-plus 8 giant posters! All color! A super value! 

Clip or Copy ■■■■■ 



n star Trek IV: The Voyage 

Home $5.95 
D Aliens $5.95 
D Rocky IV $4.95 


D Rocky II $1.50 
D High Road to China $1.95 
D SF Superheroes $1.50 
D TV Superheroes & 

D Joanie Loves Chachi $1.95 
D Fame $1.95 
D Annie $M5 


n Superman IV: Quest for 

Peace $3.50 
D Living Daylights $3.50 
D Spacei)a//s$3.50 
D Masters of the Universe 


Star Trek IV: The Voyage 

Home $3.50 

Superman III $3.00 

Star Trek III: Search for 

Spock $3.00 
D Conan the Destroyer $3.00 
D Rocky IV $3.50 
n Rambo$3.5Q 
D Over the Top $3.50 

D The Untouchables $3.95 
D Star Trek IV: The Voyage 

Home $3.95 

D f?oc/(y /V $3.95 

D Explorers $3.95 

D Star Trek III: Search for 

Spock $3.50 
D Star Trek II: Wrath of 

Khan $3.50 
D floc/cy /// $3.00 
D High Road to China $3.50 
n S/ay/ng A/;Ve $3.00 
n Annie $2.95 





475 Park Avenue South send cash, check 

New York, NY 1 001 6 of -"oney order! 

Please add postage and handling charge for each publication 
ordered. Movie, Poster or Combo Magazine-$1.50; Poster Book-Si .00 


If you do not want to cut out coupon, we will accept written orders. 


Allow 4 to 6 weeks for dellveiy. 


Wk ctor Gary Lockwood has played 
^^ significant roles in two milestones in 
■■ science fiction. In 1965, he por- 
yed crewman Gary Mitchell who was 
ansformed into a god-like being in Star 
'^ek's second pilot, "Where No Man Has 
one Before" the one that sold the series, 
iree years later, he reached movie screens 
^ astronaut Frank Poole in Stanley 
jbrick's 2001: A Space Odyssey. 
This pair of roles has secured him a place 
the science-fiction universe. 
"It's kind of what life is all about," 
; jghs Lockwood. "If you didn't have some 
■ that [recognition] between now and the 
me you die, it wouldn't be a hell of a lot of 
-n being here. But I've been blessed 
roughout my life to have those kinds of 
:colades. I've just been lucky." » 

The actor remembers his "Star Trek" into 

godhood "Where No ivian Has Cone Before" 

& his ultimate trip with Stanley Kubrick into 

the year "2001." 

The actor explains that he had been 
"something of a hero" as a kid, succeeding 
in virtually everything he attempted. And he 
found himself drawn to the entertainment 

"I was one of those weird combinations 
of people who are split between sports and 
acting," he says. "When I went off to 
UCLA on a football scholarship, 1 was an 
Art-English major. I started in the motion 
picture business doubling actors, riding 
horses and doing extra work. Then, Joshua 
Logan put me in a film called Tall Story, 
and that really kicked it off. 

"Funny," Lockwood muses, "but I 
never looked at Tall Story as my big break. 
My reaction was more like, 'Oh my, this is 
terrific. I'm making some money and I'm 
not getting knocked down.' I landed in a 
play on Broadway, which is when I met 
'Eastern Actor' with all his major hangups. 
Very intense, hated anybody from Califor- 
nia. Then, those assholes come out here." 

Other roles followed, and then Lockwood 
was cast in the lead role of the Gene Rod- 
denberry TV series, The Lieutenant. The 
series focused on the life of Lt. William 
Rice, a newly commissioned officer in the 

STARLOG/November 1987 43 

Even as Frank Pode, Lockwood could not escape unnatural forces In space. 

Marine Corps during peacetime. Lockwood 
calls The Lieutenant "slightly agonizing" 
due to Marine Corps and network concerns 
about the Marine image. 

The Star Trek pilot came next, with 
Lockwood in the role of Gary Mitchell, an 
Enterprise crew member whose encounter 
with an energy barrier turned his eyes silver 
and endowed him with psychic powers. 

"To tell you the truth," Lockwood 
relates sincerely, "it was a little bizarre. It 
was embarrassing, and I hoped it would 
work because everyone was excited about it. 
I did like science fiction and I still do, so that 
side of me was hoping the Star Trek pilot 
would come out OK. It was a very hard job. 
1 couldn't see the other actors because of the 
silver contact lenses. They didn't blind me 
initially, but after a few days, my eyes swell- 
ed up and got sore. Afterwards, to have 
them on for just two or three minutes was 

"Another thing about the Star Trek pilot 
is that people always thought I was 
egotistical, so when I got to play that part, 
many people laughed and said, 'He has 
finally found his niche." That has been a 
joke among my friends. 

"Gary Mitchell was a tough character to 
reach," he elaborates, "because there's no 
prototype character to look at. So, you 
create a mental image and tr>' to fill that 

slot. All I tried to do was downplay the 
mechanics and not be too dramatic. It's the 
same thing I did in 2001— try to play the 
part very quietly and very realistically, and 
later on, people don't think you're pushing. 
That's the way to sustain it. That must be 
thought out. 

"One thing that I can say about 
American actors I don't like, and who don't 
like me, is that you have to apply a certain 
amount of intelligence to your role first and 
then you can apply the emotions. Too many 
young actors are trying to figure how to 
make the line comfortable. In Europe, 
they're trying to bend to the line. Here, they 
try to bend the line to them. It's a different 
approach. With Gary MitcheU, the idea was 
to go to the character, and not make the 
character comfortable to me. I'm not Gary 

cenre Rebirth 

Although satsified with the episode, 
Lockwood admits that he isn't as pleased 
with it as Trek fans are for the simple reason 
that there was too much dialogue and not 
enough action. 

"But that's mainly because there's no 
other way to do it," he explains. "You have 
to commend William Shatner and Leonard 
Nimoy because they pulled it off. The 
greater part of the time they were telling you 

the story. There wasn't the money on TV to 
go out there and spend lots on special ef- 
fects, so I commend both of those actors for 
being skilled enough to make people buy 
what was happening. They did a good job 
and deserve any wealth they've obtained. 

"I guess the pilot is effective because it 
sold the series," Lockwood continues. 
"You have to keep in mind that the Star 
Trek pilot was made in those days on a very, 
very tight budget. This was the second pilot, 
so there was a great deal of pressure from 
the network on Gene Roddenberry. They 
came up with this idea of two characters get- 
ting ESP, it seemed, to make up for not 
having many special effects by just creating 
interesting characters. It was a good creative 
decision on Roddenberry's part." 

Lockwood, however, is quick to disagree 
with those who would claim that "Where 
No Man Has Gone Before" has spawned a 
science-fiction phenomenon that is still 
thriving today. 

"I don't look at it that way," he insists. 
"When I did Star Trek, I was on the way to 
do 2001 which was already in the planning 
stage. Star Trek got out there well before it, 
but 2001 was having sets built before Star 
Trek. Everybody thinks Star Trek came 
first, but it didn't. It was Arthur C. Clarke 
who paved the way for what was to come. 
"A few months after I made the Trek 
pilot, 2001 started shooting on sets that had 
been buih over a two-year period. Star Trek 
may not have even been conceived when the 
first sets for 2001 were being put together, so 
how could Trek be the forerunner if 
something else had been developing for two 
years? 2001 took 23 months to make. 
Stanley Kubrick and Arthur Clarke had 
started working on it in 1955. 

"Stanley and Arthur walked through 
Central Park sometimes, kicking around the 
idea of a great science-fiction story for the 
screen," Lockwood maintains. "That was 
in '55. Ten years later, it was in production. 
In '63, it was filming and in '65, it was film- 
ing, and it was on the street in '68. Thirteen 
years! Needless to say, if you watch 2001, 
you see why it look 13 years. I don't think 
there's anything that can come near it." 

2001: A Space Odyssey has been critically 
applauded throughout the years for its sheer 

44 STARLOG/ZVovewter 1987 

I fact that his character was not 
brought back along with David Bowman 
(Keir Duilea) for 2010, didn't bother 
Lockwood, who thought "the sequel was 
real homey." 

rope of imagination and relevant themes, 
anley Kubrick, already heralded as a film 
mius, solidified his reputation. If any fauh 
as noted by critics in their reviews, it was 
at in 2001, the human element seemed to 
ike a secondary position. Lockwood 
bristles at this point. 

"1 hejir that now," he says, "but when I 

see the performance years later, I don't 

-gree. That's for the media to write. Today, 

ook at the way I played 2001 and / made 

oices to be calm and play it as 1 did with 

;ry little reaction. After all, the kind of guy 

no would be given that assignment in the 

ear 2001 had to be cool. The idea was to 

::ay it that way. The critics compared us to 

■ shots and things of that nature. I think we 

ayed it the right way. I still do, and I guess 

always will. Maybe you can walk out of 

■01 and say I didn't cry or do those things 

at get you Academy Awards, but on the 

her hand, I can look back when I'm an 

d man and talking to my kid, and say, 

^'ell, the old man did it properly.' Once in 

.vhile, you have to have that." 

While Lockwood has successfully moved 

om one medium to another, and acted in a 

de variety of roles, it is 2001, and the op- 

?rtunity to work with Stanley Kubrick, 

at serves as the highlight of his career. 

■'Stanley's a strange guy. I believe he is 

ead and shoulders above the rest of the 

:rld in making films," the actor enthuses. 

There are sides to his personality that you 

-ght say are difficult, but he's by far the 

Dst talented man with whom I've ever 

3rked. He possesses a high degree of in- 

e'ligence, and that's one of the reasons he's 

much better than everybody else. If you 

: ally study all of his product, even though 

; s a strange character with a hermit-type 

.:ure, he has dedicated his entire life to 

iking films. When he makes a choice, 

ire are so many elements that come to 

ly. He plays the game at a higher intellec- 

il level, which doesn't mean that his films 

: ;essarily make the most money. 

■'When I got the opportunity ta work 

with Stanley Kubrick," Lockwood adds. "1 
said, 'Before 1 die, I'll be able to say that 1 
did work with the best.' That's not 
something many people can claim." 

Nine Years Later 

Lockwood's 2001 co-star, Keir Duilea, 
reprised his role as David Bowman in the 
Peter Hyams sequel, 2010, but Lockwood 
didn't reappear as the late Frank Poole, 
something that doesn't bother him. 

"I thought the sequel was real homey," 
the actor laughs. "I enjoyed 2010 more than 
some fihns, but I felt that there was no edge 
on anybody. I couldn't get into it. I enjoyed 
parts of it— seeing Keir Duilea [STARLOG 
#88] and hearing the voice of HAL, and I 
very much enjoyed the actor who played Dr. 
Chandra [Bob Balaban]. But it's a little dif- 
ficult to follow an original case like 2001. In 
2001, you get this idea of what you think 
things ought to be, and it's difficult to start 
accepting them another way." 

The actor's only other foray into the 
genre was the TV movie Earth II, which 
dealt with an orbiting space station, and the 
people who populated it. The film wasn't a 
pleasant working experience. 

"Out of loyalty to the people who hired 
me," Lockwood explains, "I can't go into 
great detail, because they may have hired me 
with the wrong thing in mind. If they had 
hired me to give an extension of what I had 
done in 2001, they didn't give me the tools 
with which to do that. I didn't get along very 
well with the director, and about a week 
after we started, I said to him, 'This is all 
very confusing. I don't understand what's 
going on. We have to find some way to go 
with it, because I don't get it.' Of course, he 
tried to lay it off on me, but they're always 
trying to lay it out on actors. When I told 
him I was having trouble giving the 
character some credibility, he told me to 
play it like I did 2001. That was a pretty 
stupid comment. We weren 't making 2001, 
we were doing a whole other story." 

Lockwood may re-enter the genre with a 
film he has been developing for several 
years. Hi Tech. It's something of a dream 

project for him, and financing is currently 

"My commitment when I was younger 
was not to my career," he relates. "My 
commitment was to living life on Earth. I 
saw it all. I was not a dedicated actor who 
lived in Greenwich Village for years and ate 
spider soup. To me, that's wonderful, but I 
had been around the world three times by 
the time I was 30. Now, after looking at all 
of it, after going around the world again five 
years ago, I started writing this story, doing 
the research and I've completed it. It has 
some science fiction in it. It's an electronic 
musical taking place some 10 years in the 
future. We have to wait for me to raise $15 
million, but I'm confident. I'm a very 
bulldog type when I want something. I'm a 
person who doesn't believe you get a raw 
deal. If you have the health and strength to 
get out of your car, then there's no excuse 
for being a loser." 

WhUe Lockwood has enjoyed his various 
excursions in science fiction, he refuses to 
credit one effort as revolutionizing the genre 
over another. 

"When I, was traveling around the world 
selling 2001, 1 could tell you that everybody 
over age 35 probably didn't like the film or 
didn't understand it," Lockwood says. 
"They were upset that HAL didn't get the 
girl. When I was traveling around, and not 
just in America, and talking to kids in col- 
leges, I realized that they were ripe for it. 
They had been ripe for it for years. There 
was a need in this society for Star Trek on 
one level or another, whether it was that 
particular show or something else. 

"Somebody had to come along to fill that 
need," states Gary Lockwood. "Star Trek 
was one of the only things on television at 
the time that allowed you to get into a 
storyline that wasn't a man having trouble 
with his wife. It makes you wonder why 
there isn't something like it again. If you 
turn on Star Trek, something of interest will 
cross your mind that night, something that's 
a little more fun than just watching any 
television. And that alone is enough." 


Gary Lockwood's first and only voyage "Where No IMan Has Gone Before" almost 
proved fatal for the crew of the Enterprise. 



r. Crusher, you will be given an 
appointment to acting Ensign. 

You will be expected to learn all 

about the running of a starship and you wiU 
devote much of your time to study. Is that 

There is a pause on the bridge of the star- 
ship Enterprise. The cry of "cut" dissolves 
the silence and with it the stoic aura of 
Patrick Stewart who immediately drops the 
military demeanor of Captain Jean-Luc 

Making the new Trek are: (back row) Dr. 
Beverly Crusher (Gates McFadden), Lt. 
Tasha Yar (Denise Crosby), Lt. Geordi La 
Forge (LeVar Burton), (middle) Captain 
Jean-Luc Picard (Patrick Stewart), Super- 
vising Producer Robert Justman, Ex- 
ecutive Producer Gene Roddenberry, 
Supervising Producer Rick Berman, Com- 
mander William Riker (Jonathan Frakes); 
(front) Wes Crusher (Wil Wheaton), Lt. 
Commander Data (Brent Spinef) and 
Counselor Deanna Troi (Marina Sirtis). 

Beaming aboard for a full TV season of space 

exploration is a brand new Starfleet 

crew— including an android, a Betazed, two 

captains. . .and a Klingon?! 

Picard and exchanges a chuckling aside with 
promotee Wesley Crusher (Wil Wheaton). 
The director calls for another take and 
Stewart instjuitly resets the acting mask of 

li is a fairly calm day on the set of Star 
Trek: The Next Generation. Outside a 
soundstage, an actor in regulation starfleet 
3iufti cops a quick smoke and wonders out 
joud if this one shot as a ship's engineer will 
1 into something more regular. On an ad- 
ig soundstage, workers are redesigning 
^ nxky, alien outdoor set that appeared in 
2se series pilot into something not quite so 
iHnilar for the upcoming week's show. 

There's also the occasional buzz among 
cast members. Mark Lenard has been 
around and one carpenter swears he saw 
William Shatner lurking in the shadows. 
And of course there was the previous week's 
guest-starring turn by Majel Barrett as the 
mother of one of The Next Generation to 
set nostalgic hearts a-beating. 

Star Trek: The Next Generation is, this 
day, approximately six weeks into produc- 
tion on the first season's complement of 24 
one-hour episodes. The two-hour pilot, 
'Encounter at Farpoint" is already some 
weeks to the rear and the cast, while 
sidestepping the hordes of media types who 

The bridge on NCC1701D serves as more 
of an officers' lounge than a battle sta- 
tion—there's a different area for that. 

have descended on Soundstage 6 of the 
Paramount Studios lot, are nearly finished 
with the fourth one-hour episode. 

Producers Gene Roddenberry and Robert 
Justman have been available for script con- 
sultation but these days, the visits are more 
pleasure than business. Industrial Light & 
Magic's first attempt at creating FX for 
episodic television is getting high marks. 

The cast and crew concede that there have 
been some long working days but, thus far, 
Star Trek: The Next Generation (budgeted 
at an announced $1.5 million per episode) 
has managed to stay true to cranking out an 

MARC SHAPIRO, Los Angeles-based cor- 
respondent, has contributed to Faces, 
visited the set of Masters of the Universe in 
STARLOG #122. 

ST \K\j0Q/ November 1987 47 


m m 

m «' 


' m 

•HI;; :.*':: 

Put on trial by Q, Data (Brent Spiner), 
Tasha (Denise Crosby), Picard (Stewart) 
and Deanna Troi (Marina Sirtis) have to 
defend their actions to both hostile 
aliens— and possibly judgmental fans. 

episode once every five working days. And 
in the process manage to launch a few classic 

During a late afternoon lunch, Denise 
Crosby, who plays Chief of Security Lt. 
Tasha Yar, describes her character as "not 
being a butch little tank." Jonathan Frakes, 
who portrays Commander William Riker, 
has often complained that "I'm not getting 
laid nearly as much as Kirk did in the old 

What the Slar Trek: The Next Generation 
cast is laying is the groundwork for a poten- 
tial light year leap in the maturity level of the 
original Star Trek concept. There's a 
philosophical tone to the first few episodes 
and more than one cast member has loudly 
applauded the idea that their characters 
seem to have real substance and personality. 
And because The Next Generation is going 
the independent syndication route rather 
than a second try at the networks, the con- 
sensus on the set is that the series will get 
away with much more. 

"There is a certain amount of violence in 
the pilot that I'm convinced the networks 
would not show," offers Michael Dorn 
who, owing to a peace treaty between the 
Federation and the KUngons, plays Lt. J.G. 
Worf, a Klingon, in the series. "We are also 
showing a bit more skin. The new series is 
definitely shaping up as a PG-13." 

When captains Lunch 

The Next Generation is also a show that is 
generating more than its share of controver- 

sy between the new Star Trek and the op- 
going memory of the old. A commissary 
meeting, two weeks earlier, between Stewart 
and William Shatner, was hailed by an 
overzealous publicist as a historic event. 
While the cast, especially such otherworldly 
types as Dorn, Marina Sirtis as empath and 
half-Betazoid Deanna Troi and Brent Spiner 
as the android Lt. Data, admit to being close 
to fed up with having to affirm or deny any 
comparisons to Mr. Spock. 

"But there is no fear by us of rejection by 
Trek fans who are loyal to the original 
cast," says LeVar Burton who plays blind 
Enterprise pilot Lt. Geordi La Forge. "I've 
heard all about this brewing controversy 
about the merits of the new cast vs. the old 
cast. I know people want us to compare this 
cast with the old cast, but we won't. 

"Trekkers are open-minded," continues 
Burton. "I can't imagine these people are 
going to judge our show without having 
seen it." 

One person who hopes that's the case is 
Patrick Stewart who, as Captain Picard, has 
had it up to his Starfleet insignia in com- 
parisons between himself and Captain 
James T. Kirk. 

"I insist on interrupting when people 
refer-to me as the new Captain Kirk," says 
Stewart, who has had a distinguished film 
and theater career. "It is important to 
iTiyself as well as to the series that people 
become familiar with Picard and not view 
him as merely a clone of Kirk." 

Stewart is making this point during a 

"Can we talk?" As the empathic, part- 
alien Deanna Troi, Marina Sirtis fills a 
position on the Enterprise that the last 
generation never had, that of Ship's 

break in filming. An unused starship cor- 
ridor has become an impromptu study as 
Stewart peruses his script in preparation for 
an upcoming scene. 

"Doing television is a whole new adven- 
ture for me," says the actor whose credits 
include Excalibur, Lifeforce and Dune. 
"It's fast, there is a different technique in- 
volved and it's quite the different process 
for me." 

Stewart recalls that his landing the role of 
Enterprise honcho was a classic case of 
"never knowing who is out there 

"I was reading some scenes at a lecture at 
UCLA and Robert Justman happened to be 
in the audience. When I was called to come 
in and read for the part, I thought it sound- 
ed like an extremely unlikely idea. I had seen 
the old TV series and the films but the pro- 
spect of an all-new series with myself as cap- 

48 STARLOG/Nove/nto- 1987 

ain was something I never expected." 

The actor says that Picard's by-the-book 

uthority figure has been a rather easy role 

J play. "Authority figures have weighed 

-trongly in the worl< I have done in the past. 

: ou can't play as many kings, princes and 

ational leaders as I have and not have some 

i that rub off on you. I was very aware of 

J rawing on that background when I met 

ith the Star Trek producers." 

As the series has progressed, Stewart has 

-needed that there is probably more than a 
lOd to Kirk in his portrayal of Picard. 

"There is a style in the Star Trek captain's 

aracter that has remained constant 

oughout the history of the series and the 
s," Stewart comments. "The dedication 

the Prime Directive has remained a con- 
>;ant character trait in whoever has captain- 
ed the Enterprise. I think that's due, in part, 
o Gene Roddenberry's writing. In that 
-ense, it isn't so much that the traits are par- 
icular to Kirk or Picard as they are to the 

"I don't want to come across as having 
back up about comparisons to the old 
es. Kirk and Spock are a very real part of 
he Star Trek history and the idea of this be- 
ng The Next Generation should imply that 
■•e look as much to our history as to our 
uture. All I ask is that we be permitted to 
:et on with our extension of the series." 

Stewart is called back to the set where a 
ather minor bit of business, his reading the 

ot act following a machinery malfunction, 
; set into motion. On cue, the doors to the 

idge turbo lift open and Riker and a pair 

non-regulars march down the ramp and 
d smartly before Picard. 

One of the two standing with Riker 
leepishly explains, "I don't know what 
-appened, sir. It just blew." Riker, attempt- 
ng to help smooth things over, offers. 

We're still trying to determine what hap- 
r^ened, sir." 

Picard, seething, admonishes the trio. "I 
-ant to know exactly what happened. Im- 
— ediately." 

Insecurity Chief? 

[^Jonathan Frakes, in another Enterprise 

idor conversation, remarks that his title 

f executive officer Emd second-in-command 

lot just a cover for his apparent macho 

hjinks (Riker's dossier includes a roman- 

|link with Ship's Counselor Deanna Troi). 

'Riker is a very driven character," 

sses Frakes, a veteran of such TV shows 

\ Falcon Crest and Paper Dolls. "He is 

sed with the idea of one day becoming 

i»tain of his own starship and, despite his 

hthearted moments, he is more military- 

ated than most of the other crew 


/ith the possible exception of Security 
ef Tasha Yar. 

'1 carry the big guns," says Denise 

sby, who describes her character in The 

Generation as a "Sigoumey Weaver 

" Crosby, an attractive blonde whose 

lits include the film 48 HRS. and the TV 

L.A. Law, explains that Tasha is the 

ate fighting machine, trained in all 


forms of weaponry and defense. 

"My body is my weapon," chuckles 
Crosby before continuing a more serious 
assessment. "But there is more to. Tasha 
than merely a fighting machine. Tasha is a 
woman with problems. She has been 
brought up on a ghetto planet in a very ag- 
gressive society but she is also a very insecure 
person; especially when she is around people 
whom she considers superior to her." 

Yar's insecurities will not be the only per- 
sonality traits explored in The Next Genera- 
tion according to actress Gates McFadden. 
McFadden, who plays Chief Medical Of- 
ficer Dr. Beverly Crusher, claims that the 
series will reflect the times. 

"This is the '80s and, because of that, the 
series will explore stronger, more relevant 
relationships and attitudes." McFadden, an 
accomplished stage actress and director, 
points out that women on the current Star 
Trek series will come across as more than 
cuties in Starfleet jumpsuits. 

"We have seen it in the scripts. All the 
roles for women are intelligent and strong," 
she says. "They are like their male counter- 
parts in terms of their adherence to the mis- 
sion's Prime Directive. But, because of the 
length of the mission, we're also dealing 
with the very real possibility of evolving sex- 
ual and romantic relationships. 

"And it goes further than that. My 
storyline has my husband being killed while 
on a mission with Captain Picard. Nobody 
knows the whole story behind that and what 
kind of relationship may develop between 
Crusher and Picard. But one thing is cer- 
tain, the women in this show are not token 
characters. Their roles are legitimate and 

Faces of the Future 

Michael Westmore opens the drawer of 
his makeup case and takes out two pairs of 
Vulcan ears. 

"You see, we haven't totally gotten rid of 
Spock," cracks Westmore, an Academy 
Award-winning Makeup artist (for Mask). 
The ears are slated for background extras. 

Westmore, fresh off his job on Masters of 
the Universe when hired to create the alien 
makeup FX for Star Trek: The Next 
Generation, claims that he has been asked to 
give feature quality on a TV budget. 
Research has been impossible. Westmore 
has been given scripts a scant two weeks 
before they are shot and has been asked to 
create on the run from script descriptions 
and his own imagination. This endless series 
of rush jobs has resulted in fewer 
mechanicals, much more sculpting and an 
overall jazzed feeling on Westmore's part. 

To everybody's satisfaction, Westmore 
has created a series of alien creatures that 
secrecy prevents him from detailing exten- 
sively. He talks around one creation, 
something he describes as "a creature in a 
box." He begins and ends his description ol 
the new bad guys, the Ferengi, as "little 
aliens with big ears" and clams up on 
something called the Traveler. Two crea- 
tions Westmore is at liberty to talk about are 
the Klingon Worf and the android Data. 

The android Data (Brent Spiner) will be 
looking to Riker (Jonathan Frakes) for 
human guidance. 

Worf (Michael Dorn), Picard (Patrick 
Stewart) and Data (Brent Spiner) prove 
that IDIC is alive and well in the 24th 

Captain Picard (Patrick Stewart) shows 
Wesley (Wil Wheaton) and his mother, Dr. 
Crusher (Gates McFadden), a thing or two 
about the bridge, little realizing how 
much the boy has already figured out for 


of character than a Klingon has been able to 
show so far. There's even been the rumor 
that they're going to have me get roman- 
tically involved with one of the female crew 

One of Worf's facets is a very Mr. Spock- 
like attitude in dealing with the rest of the 
crew. Worf, according to Roddenberry's 
cast history, was found, as a child, in the 
wreckage of a crashed Klingon warship and 
raised by humans. 

"But he is essentially annoyed by human; 
and their frailties," observes Dorn. "He 
doesn't come right out and tell Riker he 
sucks. He shows it by looks and shrugs. To 
give you an idea of how rigid this character 
is, the closest thing to a greeting anybody 
gets from Worf is, 'What do you want?' " 
Dorn claims that the distrust of the Kling- 
ons has been bred out of the series— to the 
extent that Worf is third in line to take over 
the bridge behind Picard and Riker. Dorn 
has a laugh at the possibilities that position 

"There is no chance of Worf reverting 
back to his old Klingon ways," Dorn 
assures. "But it would be kind of funny to 
have Picard and Riker beam down to a 
planet and have Worf suddenly decide to 
take the Enterprise on a joy ride to the other 
side of the galaxy." 

A voice at the other end of the soundstage 
booms out, "Quiet please, we're about to 
shoot." Like most of the scenes shot this 
day, it is a minor dialogue exchange involv- 
ing Picard. But it serves to bring back some 
mighty nostalgic memories as Picard turns 
to his ship's log and utters those now im- 
mortal words: 

"Captain's log. Stardate. . . " W 

"There is no fear by us of rejection by Trek fans who are loyal to the orlglnalcast," 
says LeVar Burton, seen here helping out Michael Dorn (as the Klingon Worf). 

"All I was told was that there was going 
to be one Klingon on the bridge and to 'go 
to it.' What I did was create a simple boney- 
appearing appliance for the forehead and 
extended it down to the nose," Westmore 
notes. "Data was a bit tougher. I worked 
with 20 different makeup combinations to 
come up with a base coat for his face. Then, 
I hand-mixed in some polarized colors and 
followed that with a hand-mixed layer of 
powder to get just the right skin color." 

Westmore goes on to contrast the dif- 
ference in the makeup in 'the current Star 
Trek series and the original show. 

"The makeup they used on the old show 
was pretty crude by today's standards, but 
then we are talking about a difference of 
more than 20 years," he says. "What was 
done then was effective for the time but 
technology has advanced. If nothing else, 
people have much bigger TV sets. You can't 
give them FX that are suited for a nine-inch 
screen. And I don't think we have with The 
Next Generation." 

Michael Dorn wanted the part of Klingon 
Lt. Worf real bad. So much that on the day 
he showed up for what was a crucial 

50 ST AKI.OG/ November 1987 

callback reading, he walked on the lot in the 
guise of a Klingon. 

"I did not wear makeup," says Dorn dur- 
ing a late-in-the-day pit stop, "but I took on 
the psychological makeup of a Klingon. Be- 
ing a Trekker from way back, I knew that 
Klingons were serious, largely anti-social be- 
ings. So, that's the way I acted. 

"I walked into Paramount in character. 
No jokes. No laughing with the other ac- 
tors, I sat by myself waiting for my inter- ^ 
view. When my turn came, I walked in, ^ 
didn't smile, did the reading, thanked them | 
and walked right out." | 

And right into a role that Dorn, whose o 
claim to fame prior to Star Trek was a three- | 
year stint on the TV series CHiPS, claims is § 
markedly different from the initial concept | 
of the Klingon race. g 

"My character is a bit more refined," | 
says Dorn, who must spend two hours in the | 
makeup trailer each morning to don Kling- ^ 
on face appliance. "The old Klingons were | 
basically out of control; creatures who were 
very much slaves to duty and, in a military 
sense, very disciplined. I have those facets 
but there's also more substance and diversity 

Although his fellow Klingons are 
"serious, anti-social beings," Michael 
bom notes that Lt. Worf will "be a bit 
more refined." 


Adventure Games 

: s^L 'J 


251 West 30th Street 
New York, NY 10001 
(212) 947-4828 

TM & © 1987. Lucasnim Lid. (LFL). All 
Rights Reserved. Trademarks of LFL used 
by West End Games. Inc. under 


_-,;■, J^t;7«<^(j^,- 



courtenev Cox, still the 

"Springsteen Girl," 

recalls her 

adventures with 

- the "Masters of 

the universe" & 

"Misfits of 

L Science." 

The exterminators known as the Nielsen 
ratings did in Courteney Cox and her 
fellow Misiits oi Science. 

52 ST ARLOG/ November 1987 

Courteney Cox is a firm believer in 
dressing for success. Unfortunately, 
the actress was anything but that, in 
May 1986, when she auditioned for the role 
of Julie in Masters of the Universe. 

"I came to the audition in all the wrong 
clothes," remembers Cox. "I was all in 
black and basically looked too old for the 
part. But I guess things like that happen 
when you don't know the character and 
haven't read the script." 

After her initial shot at Julie, Cox went 
home, changed her clothes, managed a con- 
versation with director Gary Goddard and 
read the script. She did a reading for him. 
And another. And another. 
The jury was still out after the third 
I reading and so Cox did what any aspiring 
a actor on the hook would do. 
I "I went to New York," she recalls. "It 
$. was really a bizarre time. I had, prior to 
I Masters, done a TV pilot with Jim Nabors 
called Sullivan in Paradise and was waiting 
to see what happened with that show. 
Misfits of Science [in which she co-starred] 

was on the block and 1 was sweating out 
whether it would be picked up. 

"In fact, the only thing I had written off 
was Masters of the Universe. You can tell 
when somebody likes you and when they 
don't. I figured after the number of times I 
read for the part, they thought I was too old 
and just forgot about it. A month later, I 
received a call and Masters was mine." 

Landing the role of Julie immediately set 
Cox apart from nearly all of the Masters of 
the Universe cast. 

"The character I play is not a toy crea- 
tion, so I haven't been running around as 
some creature with a tail saying things like 
'Three metrons north,' " chuckles Cox. 
"Because I'm from this world and act like a 
normal Earth teenager would act, I've had 
some decent, fairly real scenes with my boy 
friend and family. 

"The physical pari of relating to the 
creatures in the action sequences hasn't been 
that difficult," she says. "When I was being 
chased by the soldiers in the shopping mall 
or the monsters in the gym, I ran, pure and 

simple. But it has been a whole different 
j story trying to get across the emotional sense 
of what's happening. 

"There is a sense of terror or amazement 
in almost every scene. The tough part has 
been to give the audience the feeling of what 
it's like to run headlong into a He-Man or 
Evil-Lyn. Making all these weird characters 
and creatures out to be real is as much my 
job as it is the job of the actors playing 

"But when you realize that I'm fresh off a 
full season of reacting to special effects on 
Misfits of Science, reacting to Masters FX 
hasn't been that tough." 

Ah yes, Misfits of Science; that TV effort 
that combined science fiction (rather loose- 
ly) with The Mod Squad. It was just after 
Cox's big break in the Bruce Springsteen 
video. Dancing in the Dark, when she quite 
literally blundered into the series. 

"I was at Universal Studios reading for a 
part in the TV series Codename: Foxfire and 
didn't get it," recalls Cox. "But I found out 
they were casting Misfits of Science across 
the hall and, since I was there, I figured 
what the hell and went over. 

'At the time, the character of Gloria [the 
mind-over-matter telepath played by Cox] 
was so new that the writers only had a cou- 
ple of lines for me to read; something like 
'Johnny run'! I tested for another part on 
Misfits but ended up getting Gloria and be- 
fog the first person cast in the series." 

Cox spent the next year being around 

people who shot lightning bolts and shrank 

to ant size. She remembers many seven-day 

work weeks. "Most of which consisted of 

being wide-eyed when Johnny B. would 

Aoot lightning bohs out of his arms or 

:evin [Kevin Peter Hall, STARLOG #101] 

rould shrink down to this naked tiny per- 

on," laughs Cox. "But I would have to 

rait until the following Friday night to see 

what I was reacting to." 

From its inception. Misfits of Science was 
the butt of numerous critical assaults, but 
Cox insists that the series deserved more 

edit them it got. 

"It was one of those shows you either 
loved or hated; like Manimal," offers Cox. 

There was really nothing else like Misfits 
on the air. It was a funny show with a lot of 
schiick. Kids liked Misfits because of the ac- 
tion and special FX. There were many subtle 
adult things that you could miss if you 
didn't look closely." 

Needless to say, few people looked close- 
ly. Not when Misfits' sparring partner in the 
Bine p.m. slot was Dallas. 

"We would come in on Tuesday morn- 
ngs, look at the national ratings and get 
Hue in the face," says Cox. "It wasn't that 
pur ratings were really terrible. Being up 
Igainst Dallas was the big problem. And it 
Gdn't get any better when they moved us 
■pposite Webster. 

"If our show's budget had been that of a 

Having finished her Masters of the s 

Universe duties, Cox will be trading rocker f 

Robert Duncan McNeill for Farnily Ties s 

with Michael J. Fox. < 

situation comedy, there's a chance we might 
still be on the air. But, with the special FX 
making things so expensive, the network 
decided the cost was too high to take a 
chance on us anymore. And that was too 
bad because I believe, given more time. 
Misfits would have found its audience." 

Cox, who was born and raised in Birm- 
ingham, Alabama, went to New York in 
1984 and immediately found work as a 
model and in TV commercials. But her big 
break came when the call went out for a 
pretty face to be plucked out of a concert 
audience by Bruce Springsteen for his video 
"Dancing in the Dark." 

"I was this naive kid through the whole 
casting process," says Cox. "I went to an 
interview and didn't know who Brian De 
Palma [the video's director] was. I wasn't 
really nervous and I guess that all worked to 
my advantage." 

Cox and two other finalists were flown to 
a Minneapolis concert site and planted in the 
audience. It was only during the first run- 
through of the video sequence when the 
Boss reached into the crowd and pulled her 
on stage, that Cox knew she had been 

The actress concedes that luck, beginning 
with the video, has had much to do with her 
early successes. 

"It has definitely been a factor," she says. 
"But I don't think I would be doing Masters 
if I didn't have the talent to back up the 
luck. The Springsteen video was luck, and I 
was basically getting paid to learn how to act 
on Misfits, which was also luck. But the im- 
portant thing is that I used the lucky breaks 
and didn't waste them. 

"I can definitely act even if I don't appear 
to have any particular style. I know I'm not 
a method actress, but I do believe in being 
physically and emotionally prepared for the 
role. If I have a scene where I'm supposed to 
be emotionally drawn out, then I'll think of 
the saddest thing in my life. If I have to be 
five pounds lighter to be the right physical 
type, I'll run my little tail around the block 
to make the weight." 

Cox's latest stroke of luck is a new TV 
series gig, portraying Michael J. Fox's girl 
friend on Family Ties this fall. 

But little in the way of other career credits 
behind her, Courteney Cox has been poised 
and patient with the fact that the lion's share 
of this conversation has concerned past pro- 

"I'm not tired of talking about Spring- 
steen," she says. "I know I'll be the Spring- 
steen Girl until I do something that reaches 
as many people as that video did. It doesn't 
bother me now but that could change after 
Masters of the Universe. 

"At that point, I might go for an inter- 
viewer's throat if I hear one more Springs- 
teen question." •^ 

Taking a little piece of home with them to 
Eternia, Julie (Cox) and her newfound 
friends are off to see Skeletor. 

STARLOG//Voie/)7/)e/- 1987 53 

Holy Sidelcielc! 

Twenty years after he beat up the bad guys alongside 

Batman, this TV Boy wonder is now a Hollywood 

businessman with Gotham City memories. 



n_-ostumed crimefighters may be wor- 
Ln shipped by a grateful public when 
\^ J they battle sinister villains plotting 
world domination. But once their valiant 
victories are won, there is little room in 
Hollywood for unemployed superheroes. 

Rocketed to stardom as the diminutive yet 
resourceful boy wonder, Robin, sidekick to 
Adam West's caped crusader Batman in the 
smash hit TV series of two decades ago, 
Burt Ward became an instant media sensa- 
tion. Personifying youthful exuberance 
amid the camp craze of the 1960s, he was 
besieged by hordes of adolescent admirers, 
even as he was being exploited by industry 

Suddenly, his unprecedented notoriety 
vanished as abruptly as it arrived. Indelibly 
identified as a long underwear juvenile lead, 
he was unable to compete with seasoned 
professionals, and disappeared into show 
business obscurity. Reevaluating his career 
options, the ever-resilient Ward eventually 
reemerged as an energetic entrepreneur, 
masterminding several successful business 
ventures. Currently the president of his own 
publicly traded corporation, Pinnacle 
Associates, he has finally achieved the off- 
camera respect he was denied during his 
brief sojourn in the spotlight. 

"1 didn't intellectualize my career 

Though the Batman show was itself a 

fad, the camp TV series often took 

satiric shots at other contemporary 

crazes— like the pop art trend. 

54 STARLOG/November 1987 

As millionaire Bruce Wayne and his ward 
Dick Grayson, Adam West and Burt Ward 
enjoyed the lighter side of crusading. 

moves," the 42-year-old Ward admits, 
relaxing in his California home after a busy 
round of morning meetings. "1 was a true 
innocent, and wasn't corrupted by the in- 
dustry. I didn't care about taking advantage 
of my fame. I wasn't out for the money. I 
was just a kid having fun." 

Born Bert John Gervis, Jr., on July 6, 
1945 in Beverly Hills, California, Ward 
made his show business debut at the tender 
age of two. Billed as the "World's Youngest 
Professional Ice Skater," and later 
documented in Ripley 's Believe It or Not, he 
toured the United States in his father's ice 
show. Rhapsody on Ice. 

Originally intending to become a lawyer. 
Ward switched career goals due to a high- 
school romance. "I was dating the daughter 
of Mort Lindsey, the musical director of 
The Merv Griffin Show" he recalls. "After 
graduation, Mort helped me get a summer 
apprenticeship at the Bucks County 
Playhouse, in New Hope, Pennsylvania. 
Also in my group was a young guy named 
Rob (The Princess Bride) Reiner. I stayed up 
all night building and painting sets, and took 
the train to New York to audition for Off- 
Broadway plays. 1 came close a few times, 
but never got any parts." 

Bitten by the acting bug. Ward returned 
to the West Coast, where he studied theater 
at the University of California at Santa Bar- 
bara and acting at UCLA, selling real estate 
on the side to make ends meet. "I sold a 
house to producer Saul {Logan's Run) 
David," he relates. "1 convinced him to 
watch me play a scene. 1 asked him to help 
me get work as an extra, but he sent me to 
an agent instead, so 1 could join the Screen 
Actors Guild. The agent told me the only 
reason he took me was that David asked 
him to, and that I shouldn't expect any jobs 
for at least a year." 

Lacking any prior professional acting ex- 
perience. Ward soon blithely wentoaut on 

Long before cellular phones were in fashion, Batman (Adam West) and Robin (Burt 
Ward) made calls on their mobile Bat-phone. 

his first interview, for an unidentified role in 
a top-secret project. "My agent never told 
me it was Batman," he notes. "All he said 
was: 'Something is going on at 20th Century 
Fox. I'm sending you to see the casting 
director.' I met the casting director, and he 
sent me to the executive producer, William 
Dozier, who said, 'You're kind of tall to 
play this character.' I told him, '1 promise 
not to grow any more.' " 

Called back to screen test opposite Adam 
West (STARLOG #117), the ingenuous 
Ward was understandably confused when 
ordered to squeeze into a garish red, yellow 
and green costume. "1 still didn't know 1 
was testing for Batman," he laughs. "1 
wondered why I was wearing a costume. 
They finally told me Robin was a comic- 
book character. But I never read Batman 
comics, so it had no meaning for me." 

Naive to a fault. Ward didn't even realize 
he had definitely been cast as the buoyant 
Boy Wonder until just before shooting 
started on the two-part pilot show in 1965. 
"The studio thought my agent told me 1 had 
the part, and my agent thought the studio 
told me," he says. "For six weeks, they kept 
calling to find out my glove and shoe 
size — and I was sweating, trying to figure 
out what was going on. I thought, 'Why 
don't they just tell me if I have the part.' 

Finally, my agent told me to come in and 
sign contracts. 1 figured they were agency 
contracts. It turned out 1 was signing studio 

Crusading Co-Stars 

Dropping out of coUege in his junior year, 
the novice actor was too unassuming to 
worry about abandoning his formal educa- 
tion to accept the intimidating responsibility 
of co-starring in a network TV series. "1 was 
thrilled to death to be able to work," Ward 
affirms. "Because it was my first acting 
job — and 1 got it so easily — 1 didn't feel the 
anxiety of actors who have been turned 
down dozens of times, and who try to get 
even with everyone who rejected them when 
they finally do get a part. I didn't have any 
bitterness, or any ax to grind. 

"I didn't take the role for granted. I was 
honored to have it. But 1 was too new to feel 
the anguish of having suffered for my craft. 
My main concern was that 1 didn't know the 
protocol for dealing with the producers and 
the crew, which made me feel awkward." 

Fortunately possessing a photographic 
memory. Ward soon adjusted to the re- 

respondent, profiled Kerwin Matthews in 
issues #119-120. 

SI Ma..OG/ November 1987 55 

quirements of balanced ensemble playing. 
"I always knew my lines," he asserts. "I 
kept everybody on their toes. Adam occa- 
sionally used a teleprompter or cue cards, 
but I rarely made mistakes. 1 got a reputa- 
tion for doing my scenes on the first take. 1 
was very pliable in the directors' hands. I 
remembered everything they said, and did 
everything I was told. Their basic direction 
to me was: 'Do it the way you want, but be 
enthusiastic' " 

Sharing most of his screen time with the 
older and far more experienced West, Ward 
quickly established a unique working rap- 
port with his initially cautious co-star. 
"Adam is a real pro," he comments. "He 
was fun to work with, and we became good 
friends. I learned a great deal from him. 
Sometimes, I was a little grumpy with him, 
particularly when he taught me how easily 
he could upstage me by blocking me from 
the camera. But usually, we were like two 
kids playing." 

Indeed, the irrepressible Ward especially 
enjoyed poking fun at the implications of 
the relationship between millionaire Bruce 
Wayne and his ward Dick Grayson. "It was 
like a game for me," he states. "I would just 
get in there and take each scene to the nth 
degree. Naturally, the censors were always 
on my back. Adam would have to calm me 
down, by saying: 'No, Burt, you can't go 
that far.' 

"For example, in one scene Bruce and 
Dick were about to retire for the evening. As 
we walked up the staircase with our backs to 
the camera, Adam said: 'Well, Dick, it's 
time to go to bed.' I said: 'You're right, 
Bruce' — and I put my arm around him. 
Geez, did that create an uproarV 

Maintaining a light-hearted attitude 
despite the debilitating grind of weekly TV 
production, the two playful actors took ad- 
vantage of every opportunity to lighten their 

labors with levity. "The situation became 
really crazy when we did one of the Cat- 
woman shows," Ward remembers. "It was 
late in the afternoon. We had been under 
the hot studio lights all day, and were 
sweating in our costumes. Adam was sup- 
posed to put two cats together to form a 
map. He put them together in the '69' posi- 
tion. I started laughing, then he broke up, 
and we blew the take. 

"My back was to the camera, so Adam 
could see tears of laughter rolling down my 
face. He said I looked like a raccoon in my 
mask. I told him he was cross-eyed in his 
cowl. The director, Oscar Rudolph, rushed 
up to us in a panic. He said, 'You guys are 
going to laugh me out of the business.' " 

Nevertheless, the good-natured Ward 
found little amusement coping with the 
pressures of primetime network expediency. 
Particularly unpleasant was the outlandish 
outfit he was required to wear for up to 14 
hours a day. 

"The costume was uncomfortably hot," 
he complains. "Man was not meant to wear 
tights! God forbid if I ever went outside in 
the sun— I would quickly get a layer of 
water between my legs and the tights. There 
is nothing worse than sweating in tights. 

"The cape was made of double thick 
bridal satin. Because it hung so low down 
my back, I had to lean my head forward to 
compensate, so I had a sore neck by the 
day's end. The mask completely restricted 
my field of vision. Worse than that, my 
eyelashes touched the mask, which made me 
blink and irritated my eyes." 

Dynamite Doings 

Protecting beloved Gotham City from the 
dastardly deeds of nefarious evildoers, the 
athletic Ward recklessly risked personal in- 
jury due to chronic technical mishaps. "The 
special effects men didn't take enough 
precautions with the explosions," he 
charges. "I was hurt several times, and had 
, to be taken to the hospital. 

"On one of the Mr. Freeze episodes, I 
sensed that a particular charge was going to 
be highly dangerous. I closed my eyes just in 
time for the cue for the explosion. It's a 
good thing I did, because I was knocked 
down by the impact. Instead of going up, 
the explosion blew outwards. I had second 
and third degree burns on my face and 
arms. I was rushed to the hospital, and the 
doctor said that if my eyes had been open, I 
would have been blind." 

Sharpening his instinct for self- 
preservation, the usually cooperative Ward 
earned a reputation for temperamental 
behavior. "After those incidents, I naturally 
became cautious whenever there were any 
special effects explosions," he explains. "I 
didn't have the kind of cowl Adam had, to 
protect me from burns. I only wore a little 
mask, which meant I often had to be used in 
the close shots with the explosions because' it 

When battling wits with viiiains like the 
RIddier (Frank Qorshin), Ward says the 
only direction he received was to "be 

was more difficult to double me with a 

"So, I asked questions about the explo- 
sions. I wanted to know where the charges 
were, and in which direction they would go 
off. I wasn't trying to be a prima donna — 1 
was concerned for my safety." 

His intentions misunderstood. Ward 
alienated key members of the crew. "There 
were some people in the crew who didn't 
like me," he acknowledges. "They resented 
me because I was a young guy co-starring in 
a series without having knocked my brains 
out struggling for 20 years. The more 
popular I became with the audience, the 
more negative their attitude towards me." 

Seeking satisfaction. Ward "eggs-acted" 
a suitably precocious revenge, when 
shooting a climactic fight scene with guest 
star Vincent Price as Egghead. "The crew 
was standing off to the side during the big 
egg fight," he recounts. "For every egg I 
threw at Egghead and his gang, I also threw 
one at the crew. I have a very accurate 
throwing arm, so I did it in such a way that 
they never knew where the eggs were coming 
from. It was great fun to see the crew run- 
ning for cover." 

Such shenanigans inevitably created con- 
fiict with executive producer William 
Dozier. "I didn't want to get on his wrong 
side," Ward remarks. "He was a very 
powerful man, and Ifelt it. We were in two 
different worlds. I was just a lowly actor, 
and he was at the top of his profession. 

56 STARLOC/November 1987 

As the ever-reliable butler Alfred, Alan 
Napier donned cape and cowl to assist 
Bruce Wayne (West) and Robin (Ward). 

"I only got into serious trouble with 
Dozier one time. I asked him for a raise. I 
got a real good talking to, instead. He sat 
me down in the middle of his office, and 
marched around me waving a riding crop. I 
was in such fear of him after that, I did 
anything to stay out of his way." 

An overniglit celebrity whose growing 
popularity fed a fervent fan following, 
Ward increasingly resented his income, 
receiving only Screen Actors Guild scale of 
S350 as weekly salary. "I was new, so I 
couldn't command more money," he points 
out. "I was the lowest paid employee on the 
entire production. Even the crew earned 
more than I did, because their union scale 
was higher than SAG scale. Dozier figured I 
didn't know any better, so he took advan- 
tage of me. 

"As it was, 10% of my salary went to my 
agent, 10% to my personal manager, 5% to 
my business manager, 5% to my publicist, 
and 30% to the government for taxes. I got 
to keep 40% of my pay check— only $140 a 
week. If my wife hadn't also worked, we 
couldn't have paid our rent." 

Supplementing his meager remuneration 
with more generous fees for frequent per- 
sonal appearances. Ward innocently ex- 
pected to reap further rewards by playing 
the title role in a star-making feature film 
during his Batman hiatus. His employers 
had other ideas, however. 

"It was very sad," he laments. "I actually 
thought I had the part. But b*ause the 

series was so hot, 20th Century Fox didn't 
want me to play a different character. They 
were afraid it would disrupt the show's suc- 
cess. The strings were pulled, and an 
unknown actor named Dustin Hoffman got 
the role, instead. You may have heard of the 
film. It was called The Graduate." 

Superhero Cinema 

Bitterly disappointed. Ward made his big- 
screen debut in less prestigious cir- 
cumstances, donning his dreaded long 
underwear alongside Adam West in a 
mediocre Batman spin-off movie. "I wish 

No longer trapped In superhero tights, 
Burt Ward Is currently a successful 
Hollywood entrepreneur. 

Burt Ward suggests that audiences will 
be disappointed if he and Adam West 
aren't the faces under the Dynamic Duo's 
masks in the proposed Batman feature. 

they had put more effort into the script," he 
muses, "so it wouldn't have been just a 
giant TV show. I would have loved to do a 
first-rate, top-notch Batman feature. But 
Dozier and Fox just hurried the picture, to 
knock out a movie. It was too ruslied and 
didn't have the stature of a real film. It 
should have been much better." 

A short-lived phenomenon capitalizing on 
a one-joke premise. Batman succumbed to 
audience apathy in 1968 after three 
tumultuous seasons, its demise hastened by 
escalating repetitiveness. "The writing and 
directing had become hackwork," Ward 
declares. "I tried to fight to preserve the 
quality, because the show still meant so 
much to me, but I had no influence over 
such matters. I was labeled a 
'troublemaker.' I was told, 'Don't ask so 
many questions. Just go rfo it.' " 

Planning to parlay his Robin recognition 
into more varied fitai and television work, a 
hopeful Ward was appalled to discover his 
career had come grinding to a halt — almost 
before it had begun. "Show business is 
tough and vicious," he observes. "I came 
close to getting several movies and TV 
series. It usually came down to me and one 
other actor, and they always went with the 
other actor. The casting directors said I was 
so identified as Robin, that it would be hard 
to believe me in another role." 

Consequently, Ward could obtain only 
part-time employment as a performer: In 
summer stock; in a Goodyear TV commer- 
cial; in the daytime soap opera Santa Bar- 
bara; in such obscure exploitation films as 
Scream, Night School and Fire in the Night; 
and as the voice of Leader One in the 
■E animated series Challenge of the Gobots. Ir- 
revocably attached to his Robin persona, he 
also reteamed with the similarly stereotyped 
Adam West as Batman for two TV 
S superhero comedy specials, as the faceless 
I voices behind the animated New Adventures 
I of Batman in 1977, and for an endless array 
* (continued on page 79) 

ST ARLOC/ November 1987 57 

I K^ *. 

Jami certz 

My Sweet vampire 

The actress who can't remember "Solar- 
babies" romps as a lovely bloodsucker 
among those rascally rockers, 
"The Lost Boys." 


" ure, it has vampires, hip music and 
cool clothes. But that's not why 

-^ Jami Gertz likes The Lost Boys. 

Jami Gcrtz likes The Lost Boys because 
it's one of the few times she has ever gotten 
to do anything in a movie. 

"I save the whole group," Gcrtz main- 
tains. "I save everyone from destruction. A 
girl does." 

That may not sound like a reason to rush 
out and see the film. But for Gertz, whose 
roles in movies like Crossroads and 
Quicksilver have amounted to little more 
than glorified wallpaper, it's a major step 

correspondent, is a screenwriter whose work 
includes episodes of Spenser: For Hire. He 
profiled Duncan Regehr in issue tfI22. 

"Most of the parts I've played have been 
passive girls who are just sort of there," 
Gertz says. "I have trouble with that 
because I'm not like that and being passive 
gets you in big trouble personally. It's not 
the kind of quality that young girls should 
be looking up to." 

Unfortunately, it is what Hollywood pro- 
ducers think audiences want to look at. 

"There are many passive women's roles 
in the movies," the actress says. "The ones 
that aren't are either bad or are snatched up 
by one of the big actresses." 

Or they're like the female lead in The Lost 
Sov.v— they don't have the range that will 
bring Meryl Strecp pounding on a 
producer's door, but they're a step above 
the "nice girl friend" whose sole purpose is 
to give the male lead a "human" side. 

Actually, Geriz's Lost Boys role couldn't 

Star (Jam! Gertz) Isn't a bad girl, she just 
hung around with the wrong crowd. 

be more different from the standard "nice 
girl friend"— as a teenager runaway-turned- 
bloodsuckcr she actually takes away star 
Jason Patric's human side by helping 
transform him into a demi-vampire. 

"It's fun to play a vampire," Gertz says, 
echoing the film's ad line. "It's a stretch. 
For one thing, I'm nice, which is a switch 
after all the tough characters I've played. 
My vampire's a sweet vampire. I'm Star, 
who's sent out to kill Jason Patric. But in- 
stead of killing him, I fall in love with him. 
We become partial vampires, not totally 
vamped out because we haven't made a kill 
yet. If we were to kill, we would become big 
bad vampires like some of the other 

And while a sexy young vampirette is not 
the kind of part that garners Academy 
Award nominations, Gertz feels there's 
some humanity to her role. 

"1 think Star got mixed up with the 
wrong group," Gertz explains. "Enticed by 
the way they looked, the way they lived, and 
how free it was. And once she was in it, she 
saw it wasn't the way she really wanted to 
Hve her life, but like many people, she got 
stuck in a situation from which she couldn't 

That's not likely to happen to Jami Gertz. 
The daughter of a successful Chicago con- 
tractor who always encouraged her ambi- 
tions, Gertz has been a professional actress 
since she was 16— she was discovered in high 
school by Norman Lear's company and 
hired to play snobby Muffy Tupperman on 

58 ST KKhOG/ November 1987 

the short-lived CBS sitcom Square 
f egi— and she places the emphasis on pro- 
fessional as an actress. 

"1 can't afford to stay loaded on the set 
and stagger out of the trailer when I feel like 
it," Gertz says. "Not when there's 10 to 20 
million bucks riding on whether you're feel- 
ing up to working that day." 

Of course, that money isn't riding com- 
pletely on Gertz's feelings. Movies like 
Crossroads and the disastrous science- 
fiction adventure Solarbabies (ST.^RLOG 
#109) have managed to lose plenty of money 
even with Gertz giving her professional all. 
Take Crossroads, for example. Walter 
{Streets of Fire) Hill's fantasy about playing 
the blues with Satan featured a great perfor- 
mance by Joe (Amazing Stories) Seneca as 
an old blues master, a Focus Award-winning 
screenplay, and a brilliant Ry Cooder score. 
But even though it got some good reviews, 
the film disappeared after three weeks. 

"I thought Crossroads was going to do 
tremendous business," Gertz says. "I think 
it couldn't find its audience. It got a bum 
rap when it got an R-rating. I don't think it 
deserved that by any means." 

Which isn't the case with Gertz's previous 
genre film, the Brooksfilm production of 
Solarbabies, which the actress describes as a 
"triangle between E.T., Mad Max and 
Rollerball." Originally slated for an early 
summer '86 release, the film was finally 
dumped into theaters at Thanksgiving. The 
reviews were dreadful, the grosses were 
worse, and by New Year's Day, everyone 
had forgotten the film existed. 

"Solarbabies was a difficult movie to 
film," recalls Gertz, who took the job 
because she wanted to work with people like 
co-stars Charles Durning and Richard Jor- 
dan and executive producer Mel (Spaceballs) 
Brooks (STARLOG #121). "We were in 
Spain for four months and I hurt myself do- 
ing a stunt. 1 was in a cast for a month. .As I 
get farther and farther away from having 
done Solarbabies, it seems like 1 remember 
the bad instead of the good." 

.Most people who saw the film feel the 
same way. But one good thing did come out 
of the Solarbabies experience for Gertz— she 
met co-star Jason Patric, who has since star- 
red with her in the play Out of Gas on 
Lovers' Leap as well as The Lost Boys. 

"It's all a coincidence that we keep get- 
ting cast together," Gertz says. "We're 
hardly at a point in our careers where we can 
tell producers, 'If you want me, you have to 
hire that other person.' But it's nice working 
together. We're like brother and sister. My 
Jamily knows him, I know his family." 
I But Gertz doesn't know if or when she'll 
*ork with her newfound "brother" again. 
Next up for the rising actress is the movie 
adaptation of Less Than Zero, Brett Easion 
Ellis' novel about rich Los Angeles teens 
wasting their lives. And if she has to go back 

I In Solarbabies, Jam! Gertz and her com- 
Irades sought out the mystical BodhI— un- 
Drtunately, the magical object was ineffec- 
tive at the box office. 

Solarbabies co-star Jason Patric joined Gertz, for some bloodsucking Lost Boys fun. 

to the wallpaper roles again after that, at 
least she'll have her Lost Boys experience to 
remind her that, once in a while, there's a 
movie where she can actually do something. 
•'The Lost Boys is a real quality picture," 
she says. "It's like The Fly or ALIENS. It 
has gory stuff. It has great elements. It has 

comedy, which is very important because 
one needs to laugh, li has vampires. That's 
always immediately a hit for me. It has 
motorcycles and kids and everything. It's a 
whole mishmash of stuff that makes it fun 
and exciting." 

The Australian actor who pursued 
"The Road warrior" & entered 
"innerspace" as a 
micronaut menace admits 
his surprise at the 
reality of the 
American dream. 




Of w 

■ never wanted to be an actor. I was 
trained to be an electrical engineer. I 
didn't like it much, but at least it was a 
trade," notes actor Vernon Wells. 

A simple twist of fate caught up to Wells 
and he now admits his destiny isn't in wir- 
ing. The tall, rugged Australia native con- 
fessed it took an auto accident to make him 
change careers, turning him from his work 

as an electrician to his breakthrough por- 
trayal of Wez in George Miller's The Road 

His large frame fits uncomfortably in the 
booth at Tiny Naylors, a landmark Los 
Angeles diner in the San Fernando Valley. 

His hair — usually dyed black for his 
roles — is its natural sandy brown. A close- 
cropped beard accents the surprisingly gen- 
tle blue eyes of the 41 -year-old actor. He 
looks out on the traffic of Ventura 
Boulevard as he recalls his discovery. 


"When I turned 28, I realized what I 
wanted to do. I had been out of work for 
several months after an auto accident and I 
got an opportunity to do some modeling. I 
found I was much more interested in the 
camera than in the modeling. My father had 
insisted 1 study electrical engineering and 1 
didn't realize until then that wasn't what I 
wanted to do in life — although the camera 
terrified me at first." 

From that time on, Wells was hooked, in 
fact, he now likens acting to a euphoric 

McCarthy enjoyed hamming it up as a 
super-cool cigar-ctiomplng scientist 
alongside Fiona Lewis as the lusty Dr. 

I had the experience of wanting to 
laugh so much, and at the same time, 
shut my laughter down, so I could 
hear what was coming next," explains 
Kevin McCarthy, relating his thoughts 
about watching Joe Dante's latest film, In- 
nerspace. McCarthy's role in the movie is 
that of an evil, very wealthy arms mer- 
chant, who needs a vital miniaturizing 
microchip, no matter what the conse- 
quences. Killing the heroes is just fine and 
dandy with him. 
McCarthy, however, feels differently. "I 

veteran STARLOG correspondents, ex- 
amined the genesis of Star Wars in 
STARLOG #120. 

Donning Road Warrior gear again for 
Weird Science. Wells was the biker targe' 
of Anthonv Michael Hall (STARLOG =981. 

"When you're working, you're high on 
the adrenalin of the whole process. When 
you stop, you get almost classic withdrawal 
symptoms — nervousness, edginess, you 
can't sleep. Acting is an essence actors 
adore," he says. "1 guess 1 shouldn't equate 
it to drugs because I've never been into that 
experience, but that's how 1 suppose it must 
be. I'm so scared in front of a camera, there 
is so much terror, 1 get this rush of 
adrenalin. Then, I'm not Vernon Wells 
anymore, I'm the character. The energy is 
up, the metabolism is pumped up. You do 
that every day for eight weeks then stop 
cold, and it seems like there's nothing to get 
up for in the morning. 

■■ril sometimes take my car out—" Wells 
dri\cs a mint condition mid-70s Corvette 
" — and run it through a canyon road as fast 
as 1 dare. 1 scare myself so I can get that 
high again for a little while." 

Wells had a few strikes against him when 
he began his acting career. He was in his late 
20s — a time when many actors have already 
peaked and faded — and he was in Australia, 
not Hollywood. "There's not much work in 
Australia unless you're Mel Gibson," Wells 
comments ruefully. "There's simply not 
that many movies made there." 

His break into feature films came from an 
unexpected corner. Wells was working in 
Melbourne, appearing in a two-person play 
titled Rosanna, in which he portrayed a 
conscience-ridden homosexual. One of the 
patrons at the performance was Mrs. 
George Miller. 

"I was already a little uneasy about even 
being in the play," Wells relates. "1 had a 
big fear trying to portray anything like that 
because it's a terrible risk for a career. It can 
die a real sudden death because people 
associate you with what you do. But 
George's wife saw the show and evidently 
was impressed because she went home and 
suggested to George that there was an actor 
he ought to see. Me." 

The warrior wez 

Miller did contact Wells and eventually 
cast him as the maddest of Mad Max's foes, 

Kevin McCarthy: pods in space 

didn't want to lose those three people, 
Dennis Quaid, Martin Short and Meg 
Ryan," he says. "I felt committed to 
them. I felt touched by the sweetness of 
their relationship." 

Indeed, after seeing Innerspace for the 
first time, McCarthy had this to say of his 
director: "It's like somebody suddenly got 
back to making pictures the way they used 
to be made, with all the delicacies and 
delicious moments everywhere throughout. 
I said to Joe, 'You've brought real 
moviemaking into the present.' " 

But not everything in Innerspace was 
firmly rooted in the present. A "co-star" 
from an earlier film invaded the lensing. 
McCarthy elaborates, "Joe said, 'Don't 
you see something around here, Kevin? 
Are you watching for pods, Kevin? Watch 
out, now! I see one ruiming around here. 
Look out, look out!' I said, 'Sure. There 
might be a pod around here.' And, there 
was one, sitting on a chair!" The pod, of 
course, was a reminder of McCarthy's 
famed performance in the original SF 
classic. Invasion of the Body Snatchers 
(which McCarthy discussed extensively in a 
comprehensive career interview published 
in STARLOG #79). "It's actuaUy in a 
frame or two in the background. I think 
it 'a in the scene after the miniaturizing 
chip gets thrown into the dog dish. 

Somewhere in the background is the 

But, even if the poddish visitor is hard 
to see on screen, its appearance has been 
immortalized. "I have a photograph of 
Steven Spielberg, Joe Dante, and myself 
with the pod," McCarthy says. "It's going 
to be around a long time." 

It is quite apparent, in talking with 
Kevin McCarthy, that he's happy to work 
with director Dante. "I do enjoy it," he 
affirms. "I started working with Joe in 
Piranha, when he was working with a 
budget of between 50 and 75 cents. 

"He's the kind of man who seems to 
know more about what you've done than 
you do. He remembers very 'recherche' 
things that you've forgotten yourself. It's 
very flattering when someone has paid 
enough attention to you and watched your 
work, and has esteem for what you do. 
You think, even though this is a beginning 
filmmaker, here's a kid who's very en- 
thusiastic. You hope he makes it to the 
head of the class. Joe sure has done that." 

There were several memorable ex- 
periences while filming. "It was all a 
challenge," the actor explains. "For exam- 
ple, when you're miniaturized, and you're 
inside an over-sized suitcase, in the back 
of an over-sized Volvo, or having to at- 
tack an over-sized leg. Then, there was the 

62 STARLOG/ November 1987 

Wcz. Wells almost glows when he speaks of 
ilic experience. "George is one of the best 
directors in the world. He has an almost uni- 
que ability of letting an actor work," he 
says. "So many directors come out of three 
years of motion picture school with the no- 
tion they must tell people how to act. A 
good director hires actors, then guides them 
in order to get their best performance, not 
tell them how to do their jobs. George Miller 
is an expert." 

Although Road Wcinior got Wells the at- 
tention he needed, he notes that the role 
came with a burden: "Road Warrior was a 
success, but nobody seemed to know how to 
handle me. My career went to a pinnacle 
with the film, then dropped hke a stone to 
nothing. There was no work. My agent 
didn't know what to do. Nobody knew 
what to do. There were stories circulating 
that 1 was an amateur and those rumors are 
hard to fighf. 

"Finally, my agent got a phone call from 
America. They wanted me to audition for 
Weird Science. Well, at first 1 said, 'No 
way.' I didn't want to leave Australia to 
lake a small part in an American film. 
Strangely, when I decided to take the part, 
ihey said they didn't want me anymore." 

Ultimately, Wells auditioned for the pro- 
ducers of Weird Science and landed the 
job — playing a Wez-clone motorcycle gang 
leader. It wasn't until after his stint on that 
movie that Wells experienced what he calls 

his 'Hollywood Story." h began when he 
was called in by Coniinundo's director, 
Mark Lester, to audition for a role opposite, 
another big guy, Arnold Schwarzenegger. 

"1 came into his office and the director' 
took one look at me and said I had the 
wrong image — brown hair, blue eyes, the 
way I really look," Wells says. "He wanted 
Wcz. He saw me only as Wez. 1 tried to ex- 
plain that I was an actor capable of filling 
his needs. He couldn't see that." 

Discouraged, Wells returned to Australia 
to film Fortress with Rachel (Dead Men 
Don 'i Wear Plaid) Ward. Commando was 
into its fourth week of filming when Wells 
got a call. 

Ti IS a typical Hollywood story," Wells 
recalls. Tt was about 1 a.m. The phone 
rings and this voice says, 'Do you still want 
to do the movie?' 1 said. Yeah.' The voice 
says. Good. Get on the next flight, you 
Stan shooting Tuesday.' I arrived Monday 
night, had a costume fitting and was on the 
sot at H Tuesday." 

.After his successful portrayal in Com- 
mando, Wells made a commitment to an 
actmg career in America. But the spectre of 
Wez rose again to upset his plans. He work- 
ed' steadily for seven months, then six 
iTionths went by without any work at all. He 
illustrates his frustration remembering an in- 
cident at the offices of Glen Larson. 

"1 went to do an interview," he begins. 
"Larson and his staff were there and I came 

telephone booth, where we were trying to 
rig it so that I could stand on the 
shoulders of Fiona Lewis, this frail lady, 
to work the telephone. AH of those things 
were fun, even though they were hard 

There was one aspect of filming that 
McCarthy didn't find much to his liking: 
Being called on to smoke a cigar in the 
refrigerator truck. According to the actor, 
"That was hard work, with all the 
nitrogen floating around to give you the 
sense of a freezer. And I don't like to 

smoke. I had to light cigar after cigar. We 
had to do many takes to get the right at- 
titude for that man." 

One of the funniest scenes, however, 
never made it into the movie. Says Kevin 
McCarthy, "The breakfast scene in the ar- 
boretum was wUd. When Martin Short 
throws the microchip and it lands in the 
dogfood, I'm so enthusiastic digging 
around in there. When I found it, I picked 
it up and kissed it, and my mouth was all 
full of dogfood!" 

— Randy & Jean-Marc Lofficier 

They're coming, they're coming, they're here— Kevin McCarthy engages in some pod- 
foolery with Innerspace director Joe Dante and executive producer Steven Spielberg. 

I go, you go, we all go for Igoe— but don't 
ask him to light your cigarette. 

as I'm dressed now — a suit and tie, my hair 
brown. Their mouihs dropped when they 
saw me. Somebody said, 'We really ex- 
pected you in leather and chains.' That was 
their whole perspective of me — that 1 would 
arrive as Wez. If you do something well, it 
can become a curse. Wez was part of a 
whole new genre. It created a cult. It's all 
that people remember. These people are 
professionals and that's all they can see." 

After many such interviews. Wells 
became disenchanted with Hollywood. 
Tired and discouraged, he made plans to 
return to .Australia for good. But fate in- 
tervened once again. Wells had acquired a 
new agent who called one night to say that 
Steven Spielberg's office wanted to see Ver- 
non Wells about a role. It's a call that 
almost any American actor would dream 
of — although Wells reacted a bit differently. 

"1 was scheduled to leave for Australia 
the next morning. 1 told my agent I didn't 
want to see anybody that night. I told him it 
would just be the same. They would say 1 
would have to change my accent, 1 would 
say no, they would say thank you and good- 
bye. 1 didn't want to go," Wells sighs and 
shrugs. "But I went." 

Weils went to Amblin Entertainment's 
offices that evening to meet director Joe 
Dante (STARLOG #98, 121), producer 
.Mike Finnell and power casting executives 
Mike Fenton and Jane Feinberg to discuss a 
possible role for Wells in a new movie called 
Innerspace. The meeting was brief and low- 
key. Wells left the next day for Australia. 

"There was a telegram waiting for me 
when 1 arrived home," he relates. "Could I 
please be on the next flight back to take a 
role in Innerspace! I had a little trouble, but 
1 was back in 24 hours." 

STARLOG/November 1987 63 

Wells explains that Innerspace was the 
film experience he was looking for in 
America — a good experience. 

"There were three things that amazed me 
on the set," he observes. "One was Joe 
Dante. He is an amazing human being. .An 
exceptionally good guy to work v.iih — but 
the thing that stunned me about him was his 
policy of no dailies. No rushes. There's no 
way to see anything you've done so there's 
no way to know where you're going. 

"The second thmg was that 1 had been 
hired to do a comedy and I was allowed to 
play. And the third thing was Steven 
Spielberg himself, who came on the set and 
introduced himself to me and gave me the 
impression he was more interested in the 
things that 1 had done than with himself. I 
mean, he could have walked on the set with 
six bodyguards and floating press secretaries 
and it wouldn't have surprised me. I was 
surprised when he walked in alone and sat 
quietly in a corner and chatted to the people 
on the set." 

Wells explains he never felt intimidated by 
Spielberg, but he did feel some awe— not for 
the man so much as the process he 
represented: the big-budget American film. 
As Weils describes it, his carefully maint- 
ained American slang gives way to some 
Down Under expressions. 

"1 was wrapped to meet 
him — excited — because he had made 
a success in this business despite 
everybody. 1 was wrapped 
to meet Joe Dante. 1 was off my 
feet to be in the movie for 
a start," he says. "The 
cast— Dennis Quaid, Martin 
Short, Kevin McCarthy, 
William Schallert— they're all 
famous. 1 can touch them and 
they're real. I fell like the new 
kid on the block. 1 mean, 
Hollywood's the dream factory 
and I was a kid in the 
biggest dream a kid can 
have — making a movie." 

Wells was also delighted with his first 
comedic role. 

"I played a high-class killer who wears 
very nice suits," he comments 
doesn't speak. You don't even know if he 
can, because every time he opens his mouth 
to speak, someone tells him to shush. I had 
this scene with Fiona Lewis which I loved. 
I've done my job, but when I try to tell her, 
she shushes me — this really evil killer who is 
so starved for a pat on the head from his 
boss and he never gets a chance to speak. I 
had to wear sunglasses, so you don't see 
my eyes or hear me speak. I had to 
resort to the oldest technique in 
the world to get my character 
across — acting. 

"But the remarkable 
thing about making 
Innerspace was that 
1 don't think 1 heard 
one bitter word passed 
during the whole 

nine weeks I was with the production. Total 
relaxed ease. Great people around you all 
the time. Happy people working fast and 

Though Wells had what he describes as a 
"terrific experience" on his first big-budget 
comedy, he remains ambivalent about the 
American film industry. 

"For me, Hollywood was a little like a 
suicide trip on a very fast rollercoaster," 
Wells explains. "From the top of the hill to 
the bottom in an instant. Hollywood and 
Vine was Mecca to me. The first thing I did 
when 1 arrived in Los Angeles was to find a 
cab to take me to Hollywood and Vine so I 
could stand on the corner. Well, the cab 
driver couldn't understand why 1 wanted to 
go, but he took me there anyway. The cab 
pulled up and there was a 24-hour restaurant 
on one corner, a bank, an insur 
ance building, people sleeping 
on the sidewalks, 
bikers by the curb. 
1 said, 'This can 'i be ihe 
Hollywood and Vine!' 
"The mental image 
had crumbled 
in an insiani 
and 1 thought 
to myself, 
'My God. 

Someone told the inarticulate Igoe (Vemon Wells) he needed a shrink— so he took a 
savage journey into Innerspace and suffered some deadly indigestion. 

This is the reality.' And it terrified me. It 
was shattering. It made me wake up. The 
fantasy was on the celluloid. I went into a 
bit of a panic." 

American screen 

It was a case of culture shock — a feeling 
Wells discovered often as he saw the rest of 
America. The country was far different 
from the America he had come to believe in 
as a boy growing up in 
Australia. And the 
shattered images 
were disillusioning. 

"You leave all your family and friends to 
come to a land filled with alien people," 
Wells says. "You don't know anyone and 
the existence is alien. It doesn't matter that 
the people speak English. When you get 
used to the situation here, it becomes like a 
movie. It's a strange land with its own set of 
rules. I had to learn how to order food. If 
you walk into a restaurant in Australia and 
order ham and eggs, that's what you get. 
Here, they want to know if you want ham, 
ham steak, Canadian bacon, hash browns 
with it, eggs sunnyside up or scrambled, 
medium or soft — there's 27 ways to order 
eggs apd 26 ways to order ham. All I want is 
_ ham and eggs, please. 

"Then, there are the little 

things we Australians say. 

Fortnight. Two weeks. 

People don't know 

vhat you're talking about. 

You have to learn a new 

^language. A jumper here 

is a sweater. It's hke 

bemg on the Moon." 

/ells settles back in his 

seat, glancing out 

the window 

once again as if 

some image in 

ill. concrete maze 

dio City will help 

sum up his thoughts. 

The America that portrays 

to the world through the 

press is not the same place 

that I've come to know,'" he charges. 

'Everything I had heard, 

seen, read or 

(continued on 

page 87) 

The Road Warrior was Vernon Wells' first 
big movie break, but some producers ex- 
pect the actor to behave like the sinister 

p[?®DuQ [m 
Jeroen Krabbe 

As the KGB's mad, impetuous General KoskovJ 
a Dutch actor plots how to knock "The 
Living Daylights" out of James Bond, 007. 


i t's 1965. You're 20-years-old, fresh out 
Z of drama school, and what's your ambi- 
•■■ tion? To play Hamlet? Macbeth? 

How about James Bond? 

That's the role that had Jefoen Krabbe 
salivating, and it would be nice to say his 
dream came true. It didn't, but he got to do 
the next best thing. 

He's KGB General Koskov, the greedy 
villain in The Living Daylights, the 15th 007 
adventure. Although it's Timothy Dalton 
(STARLOG #123) who was granted the 
latest license to kill, "I'm the one who got 

Coast Correspondent, is a screenwriter 
whose work includes episodes of Spenser: 
For Hire. He interviewed Timothy Dalton in 
STARLOG #122. 

66 ST AKLOG/ November 1987 

surrounded by all the Bond girls, not him," 
says Krabbe. "I'm the one who got to enjoy 
life, while he got all the rough stuff. 
Timothy Dalton is very good. He is a totally 
different Bond." 

Krabbe' isn't the first Dutch actor with 
dreams of playing 007. His friend Rutger 
Hauer, his co-star in director Paul 
(RoboCop) Verhoeven's Spetters and 
Soldier of Orange, was asked to play the 
bad guy in A View to a Kill. But Hauer was 
only interested in being James Bond and 
turned the offer down. Krabbe had no such 
pretensions — he was satisfied just to be part 
of the James Bond phenomenon, even 
though the last thing he wanted to do was 
play another villain. 

"Actually, Koskov 's not really a villain in 
the way you think of Bond villains," ex- 

plains Krabbe. "The character I played in 
No Mercy was a real villain. Koskov is dif- 
ferent — he's more or less a naughty boy." 

Even if the job did mean playing a car- 
toonish, megalomaniac supervillain, Krabbe 
would have gladly signed on "because I 
wanted to be part of the James Bond circus 
once in my life," he says. "It's the Rolls 
Royce of productions. They treat you like 
royalty." He has decided not to play any 
more villains, no matter how big the movie 
is, but that hasn't stopped producers from 
asking anyway. 

"I've refused them all," he announces. "1 
don't want to be typecast. I'm not so am- 
bitious that I must to be in a major 
American movie." 

Since wrapping The Living Daylights, 
Krabbe has played "a good guy" in a Miami 




Vice episode and in the ABC movie Her 
Secret Life, whicti starred Kate 
(SpaceCainp) Capshaw as a secret agent. 

It's very easy, he says, for foreign actors 
to be instantly typecast as villains. "It's the 
stupidity of the American way of thinking," 
Krabbe suggests. "When you come from a 
country other than America, you're con- 

[sidered to be an alien so therefore a villain. 

[Americans all think that Holland is part of 

[Russia, like Austria. It's stupid." 

He has learned from carefully watching 

[his friend Rutger Hauer (STARLOG ^5, 
103) become "imprisoned in the American 
system of typecasting," Krabbe says. It was 
Hauer whom American filmmakers courted 
first, thanks to Soldier of Orange. "That 
movie did it for Rutger," Krabbe explains. 
''TIk Fourth Man did it for me." 


Paul Verhoeven's The Fourth Man was a 
film «o//--style thriller filled with sexual and 
religious imagery which became a cult hit in 
U.S. art theaters. "One needs a vehicle like 
that one to break into the international 
market," Krabbe says. 

Still, it took the actor a while to advance 
to substantial roles, and he found that he 
had to prove himself all over again. 
Ahhough a certified star in Holland, Jeroen 
Krabbe was a nobody to Americans. 

"That's the nicest challenge one can get in 
life, to prove yourself all over again," he 
says. "That's what I was looking for, a 
challenge, whatever the challenge might 
have been. When you reach a certain top in 
your professional life, that means a stand- 
still and I don't like to be in that position. 

"I don't like to go on and on and on in 

ihe same say," he adds. "1 like to challenge 
myself a little bit more. This going back to 
scratch is quite nice, especially when you 
have the experience of theatrical training 
and being an actor for so many years." 

When he was a teenager, Krabbe thought 
he would be a painter, like his father and 
grandfather before him, but he abruptly 
changed his mind when he was 17 and 
became the youngest student ever accepted 
into the Amsterdam Academy of Perform- 
ing Arts. 

He graduated in 1965 and immediately 
landed work in various repertory theater 
companies in Holland before forming his 
own in the early '70s. Besides acting, he con- 
tinued to paint and even hosted his own TV 
talk show and radio program. 

Once he became a movie star, he decided 
to return to the Academy of Fine Arts and 
finish the studies he abandoned as a 
teenager. Now, Krabbe, who is married and 
has three sons, is as devoted to his painting 
as he is to his acting. 

"1 make time for my painting. I refused 
two more movies because 1 needed the time. 
1 have a new exhibition coming up in Oc- 
tober," he says. "I made watercolors on the 
Living Daylights set in Morocco and out of 
these watercolors, I made 40-50 new oil 

Traveling to the exotic locales on The Liv- 
ing Daylights, his family in tow, gave 
Krabbe a chance to "visit all the museums 
every day," he recalls. "They had to grab 
me from the Rembrandts." But the chance 
to see foreign museums isn't enough to 
make life on the road worthwhile for him. 

"Doing a thing like this, being an interna- 
tional actor, means you have to be in hotel 
rooms the rest of your life, which is quite 
depressing," Krabbe laments. "I mean, no 
matter how luxurious a room is, it doesn't 
matter, you are all by yourself. It's very 
hard to take. That's the hardest part of the 
whole profession, to be all by yourself in 
strange countries. Although you're sur- 
rounded by people you know and like, it's 
not your family, it's not home, so I always 
carry many pictures." 

Krabbe is looking forward to a little rest 
after his around-the-world Living Daylights 
press tour. He doesn't feel any pressure to 
hurry up and do another film while he is 

"I'm not ambitious enough, I suppose. I 
don't want to go from one movie to 
another. I'm surprised people do," says 
Jeroen Krabbe. "Barbara Hershey 
[Krabbe's co-star in the upcoming film, A 
World Apart], for instance, finished with a 
movie, had a week in Los Angeles with her 
son, went to Zimbabwe, and after that, had 
another movie lined up. I can't do that. I 
don't know how to do that. I couldn't cope. 
I have to have at least a month off between 
two projects. 

"My agent says I'm the only client who 
doesn't want to work," he laughs. "She's 
right. I don't want to. I want to go home 
and paint. She said, 'OK, as long as you give 
me a painting.' " ■^ 

STARLOG/jVovewde/- 1987 67 



aramount Home Video is gathering 
its big guns for the forthcoming 
Christmas promotion. Star Trek IV: The 
Voyage Home, priced at a very reasonable 
$29.95 (cassette and laser) heads a promotion 
which includes another 10 Star Trek TV 
episodes and a special under $20 collection of 

The new TV episodes, first aired in 1968, 
include: "The Omega Glory," "The 
Ultimate Computer," "Bread and 
Circuses," "Assignment: Earth" (which was 
originally intended as a pilot for a spin-off TV 
series), "Spock's Brain," "The Enterprise 
Incident," "The Paradise Syndrome," 

Mark Twain soars 
into adventure, 
Will Vinton-style, 
at a much cheaper 
vided price. 

"And the Children Shall Lead Them," "Is 
There in Truth No Beauty?" and "Spectre of 
the Gun." These 10 bring the total in release 
to 61 episodes, 59 of which are priced at 
SI 4. 95, running time 51 minutes each; the 
series pilot, "The Cage," (73 minutes) and 
"The Menagerie" (double cassette) are 
$29.95 each. All episodes are simultaneously 
released on laserdisc, two stories per disc at 

Paramount's under-$20 collection in- 
cludes such genre selections as: D.A.R. Y.L., 
Explorers, Young Sherlock Holmes, Raiders 
of the Lost Ark, Indiana Jones and the Tem- 
ple of Doom, and the first three Star Trek 
movies. All of these top-sellers are marked 
down to $19.95, and have been released on 
laserdisc as well. 

Film buffs will be pleased to learn that 
Paramount has included the ultra-classic 
British film The Red Shoes in the under $20 
collection. It was nominated for five 
Academy Awards in 1 948, including Best Pic- 
ture; the film won two: Best Art Direction 
(color) and Best Music Score. It has long been 
hailed as the most beautiful three-strip 
Technicolor film ever made, and still heads 
the list for brilliant fantasy filmmaking. 
Available in VHS and Beta Hi-Fi. 

Three Doctor Who stories starring Tom 
Baker as the infamous Doctor are now 
available from Playhouse Video, $19.98 
each, VHS and Beta Hi-Fi. "Pyramid of 
Mars" (91 minutes) has Sarah and the Doctor 
back on Earth circa 1911 after the TARDIS is 
thrown about by a mysterious force. 

In "Brain of Morbius," the Doctor and 
Sarah arrive on the desolate planet of Karn 


sounds off 
on video! 

amid a graveyard 
of derelict 
spaceships. As 
I hey explore, they come to a ruin and are 
w clcomed by Professor Solon and his strange 
servant Condo . Solon is seemingly the perfect 
host, but his underworld lab holds a hideous 
secret— Morbius, exiled time lord, who was 
the greatest criminal mind in the galaxy, isn't 
dead. Solon is in the process of bringing him 
back to life. 

Leela and the Doctor visit a planet of 
robots, controlled by only a few humans. The 
population takes a precipitous drop with a 
series of mysterious murders. The Doctor at- 
tempts to solve the mystery in "Robot of 
Death" (91 minutes). 

Poltergeist, 2001: A Space Odyssey and 
2010 have had their prices lowered to $24.95 
by MGM/UA Home Video. 

Happy Anniversary 007—25 Years of 
James Bond, which originally aired on ABC- 
TV in May, is a retrospective of all the Bond 
films since they began in 1962 (59 minutes, 
$14.98). Also, CBS/Fox Video has re- 
released 14 James Bond titles at the per- 
manently reduced price of $19.98 per 

The latest title in the Disney Classics Series 
is the studio's only animated CinemaScope 
feature. Lady and the Tramp, $29.95. Other 
animated titles at that price level include: 
Sleeping Beauty (which will shortly be 
withdrawn from sale). The Sword in the 
Stone, Alice in Wonderland and Dumbo. 

Two combination films (live-action and 
animated characters), Mary Poppins and 
Pete's Dragon, are also marked at $29.95, as 
are the recent The Flight of the Navigator 
(STARLOG #110) and Carroll Ballard's 
Never Cry Wolf. 

Volumes Six through 10 of the Walt Disney 
Cartoon Classic series are $14.95 each. 
Volume Six stars Mickey and Minnie in "The 
Little Whirlwind" (1941), "Hawaiian HoU- 
day" (1937) and "The Brave Little Tailor" 
(1938). Donald and Daisy are featured in 
Volume Seven with "Don Donald" (1936), 
"Donald's Double Trouble" (1946) and 
"Donald's Diary" (1953). Volume Eight 
features three Silly Symphonies: "Father 
(continued on page 79) 

68 STARLOG/Nove/nfter 1987 



A complete look at the film work of 
the KING of macabre, horror, and fan- 
tasy. Featuring exclusive interviews 
w/ith directors: Carpenter, Hooper, 
Romero, league, Cronenlserg, Reiner, 
and King himself. Fabulous color 
photos throughout— plus details of 
the productions including Stand By 
Me. 1 12 pgs., 7 3/4" x 10 3/4", flexible 
cover. Only $9.95 + postage. 

2 Star Tirek 




Fully Illustrated! Giant 8V2 " x 11 " 
paperback! The complete texts 
used by Star Fleet Personnel! 160 

• Vulcan Physiology 

• Anatomical Drawings of 
Alien Life Forms 

• Medical Time Line 

• Schematics & Operation of 
Medical Equipment 

• Star Fleet First Aid Pro- 

• Chart of Diseases & Drugs 

• Data on Plants, Parasites & 
Alien Psychology 

Only $6.95 + postage 


□j^[g[ 5)D(g/^[g 


3 Star Tirek 

From the third series of the 
classic science fiction television 
show/, a side-splitting compen- 
dium of behind-the-scenes out- 
takes. Edited from six original on- 
set dialogue tapes (found in a 
Hollyvi/ood garbage can), this 
hilarious LP includes repeatedly 
flubbed scenes, absurd dialogue 
mistakes, crack-ups — and 
features William Shatner. 
Leonard Nimoy, DeForest Kelley 
and all your other Enterprise 

No Star Trek fan can afford to 
pass this up! 

OnlyS8.98 + postage 

4 "V" ENEMY 

Here is the 12" tall action figure, 
fully poseable! He comes with an 
extendable tongue (just push hid- 
den button on his back!) and a 
human mask to go over his lizard 
face. When you want him to reveal 
his true alien identity, remove his 
human mask. Also comes with 
Laser Weapon and sunglasses. 
Dressed in bright red uniform and 
black boots; his lizard face is 
green and gold. Sent to you fully 
insured. Only $19.95 + postage. 


An encyclopedia for 007 
fans! Novels! Films! Books! 
Products! Actors! FX! 100 
pix! 272 pages! Hardcover! 
8V2"x 11"! Only $19.95 
plus postage 


The ultimate trivia challenge 
from STARLOG, the science- 
fiction authority! 

148 pages! Over 1300 

questions— ranging from the 

extremely obscure to the 


apparent! -—.--- 



Novel size: 


Only $3.95 



007 MOVIE 


iPf MZaW ^asUBHlIT: II . 

Special 25th 

Anniversary Edition 

by Sally Hibbin 

Foreward by 
Cubby Broccoli 

Jam-packed with plots, 
behlnd-the-scene photos, all 
the action, exotic locations, 
fantastic sets and special 
effects. Hardcover. 128 
pages. 90 full-color and 70 
b&w photographs. 8V2 x 1 1 Vz. 

Only $14.95 + postage 


A Pictorial History of Sci-Fi, The 
Unusual and the Fantastic From 
Captain Video to the Star Trek 
Phenomenon and Beyond! 
Hundreds of photos! Episode 
guides for Superman, One Step 
Beyond, Twilight Zone, Thrilier, 
Outer Limits, Batman, Star Trelf, 
Space 7999- and many more! 
Casts! Credits! By Gary Gerani 
with Paul H. Schulman. Published 
by Harmony. SVz" x 11", 192 pgs., 
Only $8.95 
+ postage.^ 

Robert H. Howard's 


Illustrated by Richard Corben 

Richard Corben's lush illustrated 
version of Robert E. Howard's 
Bloodstar, first serialized in 
Heavy Metal, has been reprinted 
in one handsome paperback 
volume. John Jakes and John 
Pocsik adapted Howard's original 
short story. The book measures 
8V2" x1 1 " and all 1 12 pages are 
printed on heavy glossy paper 
with a full-color cover. Published 
by Ariel Books, this edition is pro- 
fusely illustrated with black-and- 
white reproductions of Corben's 
original color art. 

For a limited time only, this fan- 
tasy classic, originally published 
at $8.95, is available for only 
$6.95-a savings of $2.00! Order 


A collector's treasure, this 4-piece 
set includes Lord Kruge, The 
Enterprise, Spock and Fal-Tor Pan 
designs. Double flanged base. 
Hold 16 oz. size. Sent to you fully 
insured. Only $15 + postage. 



Plus: Lost in Space I & II and 

Special advance pressing EP 
from the exciting upcoming LP 
Science Fiction Hits III" 
Only $2.00 + postage 


Soundtrack Album 

The show is gone— but the 
. music lives on! Thrill once 
again to the inspiring music, 
created by composer Stu 
Phillips, to the ever-popular 
TV series. 


13. VOL. VI 

20th Anniversary salute to 
STAR TREK Sigourney 
Weaver & Marines o^ ALIENS 
Cult classics: flOCKy 
25 Years of James Bond 
Films PLUS: 25 color pin-ups! 
Only $3.50 + postage 

13a. Vol. V 

SciencfrFiction's greatest Heroes! 
Doctor Who trivia! Steven 
Spielberg's scrapbook! Hero 
Spotlights! And more! 
Only $3.50 + postage 

13b. Vol. IV 

SFs sexiest heroines! The Eight 
Doctor Whos! All the movie Tar- 
zans! SF Villains! And more! 
Only $3.50 + postage 

14. Vol. Ill 

Great moments from STARLOG! 

Plus pin-ups! Portraits! Special 

section on HARRISON FORD! 


Only $3.50 + postage 

15. Vol. II 

A treasure-trove from STARLOG! 

Over 100 rare photos! 30 full<olor 

pin-ups! E.T.. Wrath of Khan & 


Only $3.25 + postage 

16.. Vol. I 

A collector's edition! Classics of 

movie and TV from STARLOG's 


Only $2.95 + postage 









18. 10 Blueprints-The Command 
Decl<. Shuttlecraft Viper and 7 
more! 8%" x 30"! Each set only 
$7.95 + postage. 

19 23 Glossy Photos-scenes from 
the TV series! 8" X 10"! All for 
only $19.95 + postage. (A sav- 
ings of $26.05 over the $2/photo 
charged at a recent Convention!) 


"The Odd Comic World of 
Richard Corben" 

Only S5 95 + postage 



21. U.S.S. Enterprise 

10 accurate 17"x 22" blueprints of 

the primary bridge. Shows every 

button of every station and their 


Only $9.95 + postage 


22. Comparison Chart- 

Special Edition 

Federation Size Comparison Cliart s 
two sheet (each 20"x28") poster-s^ 
blueprint set illustrating fen differe-^ 
Star Fleet vessels, including the Ente 
prise, Constitution, Coronado, Co* 
entry and Saladin classes. 
Only $5.00 plus postage 

23. Starship Design 

If you've been searching for the de 
tive book about Star Fleet, Starstt 
Design is it! This8y2"x11" milita-. 
technical manual contains informs 
on Star Fleet's dreadnoughts, datai 
the Klingon Fleet, a Shipbuilding St: 
Report, dozens of superdetail drawr| 
and much more. This limited-editia 
book is printed on high-quality pa 
with color covers. Don't miss it! 
Only S8.95 plus postage 

24. Comparison Chart II 

Federation Size Comparison ChanI 
a sequel to the popular Federation 9 
Comparison Chart. This two-shees 
(each 22"x26") blueprint set feat-^ 
top and profile views of eight stars-: 
including the Enterprise, Avenger 
Beli<nap and Klingon destroyer 
K'teremny, plus four others! 
Only $6.00 plus postage 

25. U.S.S. Decatur 
U.S.S. Decatur Prototype Test Sa 
Shipisa23"x29" blueprint printei 
beautiful goldenrod-colored papen 
side, top and front views, a dread- 
nought variation and an abundanc 
info. Statistical data also includec 
Enterprise and Constitution clas 
Only $3.00 plus postage 

26. Reliant Development Ch 

A huge, 24"x36" poster-size blue 
detailing the evolution of the stan 
Reliant. It features the CovenJry. 
troyat, Surya and Ptolemy clas 
their NCC numbers, a detailed hia 
and the Reliant pictured in the 
Only $3.00 plus postage 






Dozens of- facts! Photos! 240 
pages, 8V2" x 11". Paperbound. 
Only $9.95 + postage. 



The second volume of A 
From Rollerball to Return of the 
Jedi. A must-have for fans! Hard- 
cover, 256 pages. 
Only $19.95 + postage. 

Order both-a $29.90 value-for 
only $27.90 + postage. 



All the excitement of the legen- 
dary TV series on a 12" LP 
record narrated by Lome Greene 
and featuring the original cast. 
Hear the Galactica Theme played 
by the Los Angeles Philharmonic! 
Thrill again to the space saga 
that was lightyears ahead of its 
Only $8.98 -1- postage 





31. UaSaSa 




Geoffrey Mandel, author of the 
Star Fleet Medica! Reference and 
Doug Drexier, one of fandom's 
leading artists, have collaborated 
to produce the most lavish, 
detailed and exciting Star Trek 
book ever— U.S.S. Enterprise Of- 
ficers' Manual. SEND $1 1 .95 plus 
$1 .50 postage to reserve your 
limited fan edition today! 




16" X 22"! 

Only $2.95 + postage 





10 giant posters! 16"x22"/ 
f=vll color! Plus stories! 


Vol. 7— $2.95 + 
Star Trek Crew 
Michael Biehn 
Michael Douglas 
Harrison Ford 
Sean Connery 
Kurt Russell " Rick 
Moranis * Dennis 
Quaid * Lou 
Gossett * Jeff 


Vol. 6— $4.00 + 
Caroline Munro 
Karen Allen 
Michelle Pfeiffer 
Jane Badler ' Sybil 
Danning * Carrie 
Fisher ' Sandahl 


Vol. 5— $4.00 + 


fled Son/a • A View 
to a Kill • Back to 
the Future 
Ladyhav/ke ' The 
Goonies * Cocoon 
The Bride • The 
Black Cauldron 


Vol. 4— $4.00 + 

E.T. ■ Terminator 
"V" ' Supergirl 
Star Trek ' Starman 
Lost in Space 
Return ol the Jedi 
Ghostbusters ' Dr. 


Vol. 3— $4.00 + 

Indiana Jones 
Gremlins " Star Trek 
HI • Splash 
Sheena ' Conan the 
Destroyer ' Last 
Buckaroo Banzai! 


Vol. 2— $4.00 
+ postage 
Raiders ol the Lost 
Ark • Return ol the 
Jedi ■ Doctor Who 
Star Trek II ' Conan 
the Barbarian 
Never Say Never 
Again * Aiien 
Twilight Zone- 
The Movie ' Road 
Warrior ' Battlestar 




All New SF Articles!! 
Schwarzenegger! DR. WHO! MAD 
MAX! Interviews witii Spielberg, 
Lucas, Nimoy, Hauer, Hannati, 
Carpenter, and much more! 
Only $3.95 + postage 

35a. Vol. 8 

Featuring all-new, never-before- 
published articles: Creating the 
GREYSTOKE apes, 2010 FX, 
episode guide. Why STAR TREK 
failed the fans. Plus more! 
Only $3.95 -^ postage 


Vol. 5 

Interviews with David Prowse, 
Tom Baker. Mark Hamill, Arnold 
Schwarzenegger; On set at 
Plus all new STAR TREK Blooper 
Album— and more! 
Only $3.95 -^ postage 


Vol. 4 

Mel Gibson! Shatner! Roger 
Moore! Spielberg! Kurt Russell! 
John Badham! The Making of E.T. 
FX! V— and more! 
$5.95 -^ postage 



A 96-page, full-color spectacular 
on the best of science fiction 
films, programs and stars, plus 
behind the scenes interviews. 
Only $5.95 -i- postage 



Interviews with Harrison Ford, 
Roddenberry and Ferrigno; 
coverage of STAR TREK— THE 
Only $5.95 -f postage 



Interviews with Mark Hamill, 
Nimoy and George Pal; coverage 
Only $5.95 + postage 






Neil Norman and his 
Cosmic Orchestra 

41. Greatest SF Hits, Vol. I 

Alien, Outer Limits, Radar from 
Day The Earth Stood Still, God- 
zilla, Black Hole, One Step 
Beyond, Close Encounters, Star 
Trek (TV series), Moon raker, 
Space: 1999. . .plus eight 
$7.98 + postage 

42. Greatest SF Hits, Vol. II 

Star Wars/Empire Suite, 
Voyage To Bottom Of Sea, 
Twilight Zone, Time Tunnel, 
Buck Rogers, Dr Who, Dark 
Star, Superman (TV series), 
Sinbad and The Eye of the 
Tiger. . . plus four MORE! 
$7.98 + postage 

43. Not Of This Earth 

Videospace, Across The Void, 
Star Wars, Wild Boys, Re- 
entry, Galactic Vortex, Phaser- 
Laser, Time Passes Much Too 
Slowly. . . and three other 
original compositions. $6.98 + 


44. Ail three albums $20.00 


An epic adventure in time and 


The Hitch-Hiker's Guide 

To The Galaxy 

Based on the popular TV series - 
now available on records! 

45.VOL. I-A 2-record set 

Only $1 1 .98 + postage 

46.VOL. Il-The Restaurant at the 

End of the Universe 

Only $8.98 

47. Order both - 3 records in all! 

Only $20.00 + postage 



Starlog Scrapbook V 
$3.50 + $1.50 postage 

32. _ 

Starlog Poster #8 
$2.95 -f $1.50 postage 


39. _ 


Best of Stariog Vol. 2 


$5.95 -h $1.95 postage 


Starlog Scrapbook IV 


Stariog Poster #7 

40. _ 

Best of Stariog Vol. 1 


$3.50 + $1.50 postage 

$2.95 -1- $1.55 postage 

$5.95 ■)- $1.95 postage 

14. _ 

Stariog Scrapbook III 


Stariog Poster #6 

41. _ 

Greatest SF Hits 1 $7.98 -^ 


$4.00 -H $1.50 postage 

$4.00 -1- $1.55 postage 

$2.00 postage ($2.52 Cana- 

15. _ 

Starlog Scrapbook II 


Stariog Poster #5 

dian, $452 Foreign) 


$3.25 + $1.50 postage 

$4.00 + $1.55 postage 

42. _ 

Greatest SF Hits II $7.98 -I- 

16. _ 

Starlog Scrapbook 1 
$2.95 + $1.50 postage 


Stariog Poster #4 
$4.00 -H $t.55 postage 

$2.00 postage ($2.52 Cana- 

dian, $4.52 Foreign) 

Mall to 

17. _ 

Comic Wortd of Richard Cor- 

33. _ 

Stariog Poster #3 

43. _ 

Not of this Earth $6.98 -l- 

Starlog Press 

ben $5.95 + $2.00 postage 

$2.95 -1- $1.55 postage 

$2.00 postage ($2.50 Cana- 

475 Park Avenue South 

18. _ 

Battlestar Galactica 

34. _ 

Stariog Poster #2 

dian, $4.52 Foreign) 

NewYork, NY 10016 

Blueprints $7.95 -<■ $2.50 

$4.00 -1- $1.55 postage 

44. _ 

Special: Not of this Earth, 


35. _ 

Best of Stariog Vol. 7 

Greatest SF Hits 1 & II $20.00 

Please send me the follovi/ing: 

19. _ 

Battlestar Galactica Photos 

$3.95 -(- $1.50 postage 

-h $5.00 postage ($6.56 Cana- 

$19.95 -f- $2.50 postage 


Best of Stariog Vol. 6 

dian, $12.56 Foreign) 

1._ Stephen King 

20. _ 

Battlestar Galactica 

$3.95 -1- $1.50 postage 

45. _ 

Hitch-Hiker Record 1 

$9.95 + $2.00 postage 

Blueprints & Photos 

36. _ 

Best of Stariog Vol. 5 

$11.98 + $1.52 postage 

2. _ Star Trek Medical Manual 

$27.90 + $3.50 postage 

$3.95 -h $1.95 postage 

46. _ 

Hitch-Hiker Record II 

$6.95 + $2.50 postage 

21. „ 

Enterprise Blueprints 

37. _ 

Best of Stariog Vol. 4 

$8.98 -H $1.52 postage 

3. _ Trek Bloopers 

Only $9.95 •*■ $2.00 postage 

$5.95 -H $1.95 postage 

47. _ 

Hitch-Hiker Record 1 & II 

$8.98 + $1.50 postage 

22. _ 

Comparison Chart 

38. _ 

Best of Stariog Vol. 3 

$20.00 + $2.50 postage 

4. "V" Action Figure 

Blueprints $5.00 -l- $1.50 

$5.95 -I- $1.95 postage 

$19.95 + $2.00 postage 


Total Amount enciosea 

5. _ James Bond Bedside Compa- 

23. _ 

Starship Design 


fimrlR only)S 

nion $19.95 + $2.00 postage 


$8.95 -1- $1.50 postage 

6. _ Science Fiction Trivia 

24 _ 

Comparison Chart II 
$6.00 + $1.50 postage 



$3.95 + $1.55 postage 


7. _ Official 007 Book 

25. _ 

U.S.S. Decatur Blueprint 

$14.95 + $2.15 postage 

$3.00 -H $1.50 postage 

8. _ Fantastic Television 

26. _ 

Reliant Development Chart 
$3.00 -^ $1.50 postage 



$8.95 + $1.50 postage 

9. _ Bloodstar 

27. _. 

Pictorial History of SF Films 

$6.95 + $2.25 postage 

$9.95 + $2.00 postage 

10. _ Star Trek III Glasses 

28. _ 



$15 + $3.00 postage 

$19.95 + $2.00 postage 

11. _ Music from E.T 

29. _ 

Pictorial History of SF Films 

$2.00 + $1.25 postage 

& S-F 2 Only $27.90 -1- $3.50 


12. _ Battlestar Galactica 



Soundtrack $7.98 + $1.52 

30. _ 

Battlestar Galactica Record 


$8.98 -H $1.62 postage 

13. _ Starlog Scrapbook VI 

31. _ 

Enterprise Officer's Manual 



$3.50 + $1.50 postage 

$11.95 -1- $2.00 postage 

Angie (Catherine Mary Stewart) is com- 
forted by George (Michael Pare) in this 
WorW Gone Wild. 



Journey to a 


The nuclear holocaust is over. The survivors dwell in the sizzling 

desert. And once again, water is more precious than life. Lool<s like 

it's time for another "Mad Max"-style movie. 

"George Landon considers himself the 
prince of a city of decadence," says 
Michael Pare of his Wild character. 


Tucson, Arizona. Thirty miles out in 
the desert, and you go back a hun- 
dred years. During daylight, the spring- 
time desert is austerely beautiful, rolling hills 
touched with green, the cactus in bloom and 
the sky crisp and clear. After dark, it's eerie; 
the choUo and ocatillo, twisted and angular, 
are like plants from a Gothic nightmare; 
jack rabbits hide from car lights behind 
great clumps of beavertail cactus, just now 
beginning to form their cherry-red "prickly 
pears." Bats circle bright lights, snatching at 
insects. The dirt road is packed hard, sticky 
from the rain the night before. It's easy to 
imagine coyotes caroling from the low hills 
nearby, and to picture Wyatt Earp riding by 
on his way in from Tombstone. 

But up ahead, surrounding dozens of 
brilliant lights and itself surrounded by 
camper-trailers, is the wreck of present-day 
civilization: a huge wall of abandoned, 
rusting cars. Cars of all sorts, station 
wagons, sedans, a school bus, stacked three 
cars high. This wall is an immense oval sur- 
rounding an old service station, an odd 
house on stilts, and other car bodies ob- 
viously used as huddling places by human 
beings. A light wind blows, scuddling smoke 
over and through the wall of cars. People 

rush here and there in the desert night, car- 
rying cables, boxes, chairs labeled with 
famihar names. The setting has a sense of 
purpose, of community — for this is the loca- 
tion for Apollo Productions' venture into 
the action-science fiction market. World 
Gone Wild. 

The movie is set after the bombs have 
fallen, 50 years since it last rained. Led, or at 
least advised, by hippie-like Ethan (Bruce 
Dern), Lost Wells, a peaceful settlement, is 
located near one of the few working wells. 
Their peace is threatened by an attacking 
mob on motorcycles, the "Cadets," led by 
fanatical Derek (Adam Ant). Ethan and 
Angie (Catherine Mary Stewart), the com- 
munity's naive school teacher, go to a 
lawless city nearby to recruit' dangerous 
men, hoping they can repel the forthcoming 
revisit by Derek and his Cadets. Ethan first 
persuades George (Michael Pare), once vir- 
tually his son, to join them. Others, in- 
cluding Exline (Rick Podell), pyrotechnician 
Chuck (Julius Carry III), a big bruiser (Alan 

BILL WARREN is the author of Keep 
Watching the Skies, Vol. 1 and 2 
(McFarland, $39.95 each). He profiled 
Elisha Cook in STARLOG #119. 

ST AKLOQ/ November 1987 73 

STARLOG favorite Catherine iVIary Stewart piays Angie, the Lost Wells schoolteacher 
who is confronted with the cruel realities of life outside her isolated community. 

Autry), and Ten-Watt (Anthony James), a 
heroic cannibal, join the trek back to Lost 
Wells and the showdown with Derek. 

Lee H. Katzin, veteran of many SF TV 
movies and episodes, is directing; it's the 
first produced screenplay of Jorge 
Zamacona — who's on the set constantly, 
almost unheard-of for a writer. Producing is 
Robert Rosen, an affable man who worked 
his way up to producer from the lowly posi- 
tion of second assistant director. 

world Cone wet 

When your story is set in a time when it 
hasn't rained for 50 years, it's practical to 
set it in a desert, right? In this case, maybe 
wrong. Not only did it rain several times, 
but also snowed. Rosen admits that a line 
will have to be added to the movie explain- 
ing that although it hadn't rained in 
decades, there were often dark, threatening 
clouds overhead. 

The setting is very familiar, of 
course — Road Warrior territory, heavily 

74 STARLOG/ November 1987 

plowed by Italian imitations, with a plot 
remarkably similar to The Magnificent 
Seven. And no one is denying this. 

Handsome, witty Jorge — pronounced 
"George" rather than "Hor-hay"— 
Zamacona cheerfully admits to his inspira- 
tions. "It started as a writing sample," he 
says. "I wanted to show that I could write 
action, and to set it in a milieu that lent it to 
not having to stick in contemporary 
elements. Putting it in the future allowed me 
to do many things that I wanted. Also," he 
smiles, "I had seen The Magnificent Seven 
and The Road Warrior a thousand times." 

He's very happy with the film and the 
people who are making it. He's 27, and 
although he has written for both St. 
Elsewhere and Miami Vice, World Gone 
Wild is something special. "This is," he 
claims, "probably the best experience I'll 
have having a picture produced. It has been 
very satisfying. The first day I got here, I 
walked around to each of the construction 
guys and I thanked them." 

World Gone Wild is clearly a film made 
with a sense of commitment. "Everybody 
involved has approached it as a labor-of- 
love," Bob Rosen says. "We had the ward- 
robe people working — by themselves, 
nobody told them to do this — three con- 
secutive days without one hour of sleep. 
We've had our construction crew, because 
of meeting deadlines and the rain, working 
Sundays and nights. Not because we 
ordered them to, but because they thought 
they could make the town better." 

So what makes this Road Warrior look- 
alike different from the others? The 
distinguishing factor, Lee Katzin says — and 
so does everyone — is "we hope, the humor. 
We're trying to stay away from the biker 
idea of The Road Warrior. We hope it 
verges on literacy in its humor, which is not 
a put-down of the Mad Max films." 

Rosen, a good-humored and ingratiating 
man, tells what drew him to the script. "I 
like all the invention that's there, I like the 
humor, compared to other films that might 
fall into this genre. Our picture's irreverence 

may far exceed anything that I've seen. I 
mean, when was the last time you were 
rooting for a cannibal?" Rosen is sure 
World Gone Wild will be better than his 
previous SF thriller, Prophecy, which he 
candidly admits was "horrible." 

Bruce Dern, lean, intense and focused, 
with a face like the business end of a hat- 
chet, always tells the truth, on screen and 
off. His character, he says, is "just a guy 
who's a survivor, who has outlived his time. 
He is the Haight-Ashbury survivor of 80 
years in the future. He remembers what it 
was like in the '70s and '80s. 

"Essentially, my character is a guy who is 
apart from everybody else, and lives up in 
the little hut there, overlooking the town. 
I'm the only person who knows how to con- 
trol the water. And Ethan always does what 
he does with a smile, and a laugh, and a little 
bit of an up epigram for everything." 

When Ethan (Dern) finds George in the 
lawless city — scenes shot in small Bisbee, 
Arizona, where some residents protested the 
movie company's presence — they meet 

other players in the drama, who are running 
a wild scam. In a big arena for a prize of 
water, Exline outdraws those who challenge 
him — and always wins. "He has never lost 
in I don't know how many years," Dern 
says. "George is the 9,343rd person to fight 
against him. We've just seen a guy killed, so 
when we walk in, I figure it out, and it's real 
simple." Dern seems as pleased with his 
character's accomplishment as if he himself 
had spotted the scam. 

"Exline can't outdraw anybody. Before 
his gun clears, the other guy has already 
been shot." Ethan assures George it'll be a 
breeze. "Hey, you ever see a curtain with 
feet? So, when they say 'one, two, three, 
draw,' George just shoots the curtain. And 
this other guy with a rifle falls out dead." 

Dern has encountered very little science 
fiction in his career, which extends back to 
I960. On television, he appeared in "The 
Zanti Misfits" on Outer Limits; in films, of 
course, he was virtually the sole star of Silent 
Running. His career took him in other direc- 
tions, but he came back for World Gone 

Wild, drawn by the script's humor and by 
its humanity. "The movie is really about the 
love and affection that grows between these 
guys we round up and the townspeople, who 
were scared when they first arrive because 
they look like a horrible bunch of bad ban- 
ditos," Dern says. But the newcomers find 
as they train the townspeople in various 
skills, including the flinging of killer hub- 
caps, they may have finally arrived home. 

In the makeup trailer. Bob Burman 
demonstrates the hubcap weapon Dern 
mentions; he pulls out the heavy hubcap, 
which has a pie-shaped wedge cut out of it. 
"We tpok a fiberglass casting off the neck 
to make a plate to attach this pre-cut hub- 
cap." He places the fiberglass plate, a sec- 
tion of foam latex skin — Bob Burman is 
known as The King of Foam Latex for his 
expertise with this gooey stuff — and the 
hubcap to his own neck. "A generic hub- 
cap," he observes, "fits one, fits all. We 
hooked up blood tubes on either side, with 
syringes. You see the hubcap on the ground, 
the camera pans fast over to the guy who 


^^^'^^Fp^ A^ # 

^ ^ -^ 

"Preaching, teaching, brainwashing and 
violence" are the things that keep Derek 
(Adam Ant) and his Cadets together. 

An attack of the flying hubcaps lays one of Derek's Cadets low. 

already has the hubcap in place. As he starts 
to fall, we hit the syringes, blood goes 
everywhere, and he gurgles. It was real, uh, 

world cone western 

Michael Pare, in his tight blue leather 
trousers as heroic loner George, talks while 
makeup man Bob Burman strips away the 
Don Johnsonian beard stubble and various 
gnarled scars. He has a clear grasp on his 
character. "George Landon considers 
himself the prince of a city of decadence," 
Pare says. "Ethan raised this guy, taught 
him all the ways of a soldier to get by in this 
savage world. George wandered into the city 
and started to take advantage of all that 
Ethan taught him." 

As Pare talks, it's easy to understand how 
this former chef, who became an actor 
almost by accident, literally being discovered 
in a bar, has managed to make a career for 
himself. He believes in his roles. "My 
character has become completely black; he 
has never dealt with anything positive, so 
he's not aware that he's a bad guy. He has 
just been surviving, getting along in the only 
way that he knows. Then, he's exposed to 
those good-natured, sweet people at Lost 
Wells, and he sees that there is a better 
way." When he falls in love with Angle, it's 
the attraction of opposites: "She's going 

that way and I'm going this way, and we 
meet in the middle." 

Pare, up close, is even more handsome; 
his muscular buOd, his sea-green eyes and 
sculpted face are those of a hero, of a star. 
Pare first made a quick one-two-three im- 
pact in Eddie and the Cruisers, The 
Philadelphia Experiment and Streets of Fire. 
More recently, he started his TV series 
Houston Knights. He sees himself in the 
classic hero mold, and likes playing in SF 
movies "because they are hero movies, and I 
like playing heroes." 

Catherine Mary Stewart, relaxing in 
another ubiquitous, almost identical 
Winnebago-Uke dressing room, is bubbly, 
friendly, intelligent and, of course, very at- 
tractive — even more so off-screen than on, 
because she's so charming. There's virtually 
no emotional distance between her and her 
interviewers; she's warm and down-to-earth. 
Her character, she explains, is the 
schoolteacher at Lost Wells. "Which has," 
she jokes, "a lost well— very original. Angle 
was born and raised there, she has never 
seen anything outside of Lost Wells, but un- 
fortunately. Angle discovers that the world 
is completely the antithesis of Lost Wells. 
She isn't slowly eased into what's happenmg 
Out There, it's like smack! right into the 
middle. When she leaves the town, she finds 
out that it is actually a [in a deeper voice] 
World Gone Wild. Isn't it amazing how I 
included the title like that?" 

Why, she's asked, has she done so many 
science-fiction films? "I just hate reality? 
No, it hasn't been intentional. The Apple 
[her first fihn] was totally a fluke. I was 
auditioning as a dancer, and it just happen- 
ed to be a futuristic rock musical." The 
others Stewart chose because she liked the 
characters, and her genre roles in The Last 
Starfighter, The Annihilator, Night of the 
Comet and Nightflyers have indeed all been 
different from one another. 

, ^ George (Pare) is called in to stop Derek 
gti (Adam Ant) from ravaging Lost Wells— but 

it won't be easy. 

She's pleased with her appearances in 
STARLOG (#84, 117), and deUghted that 
she's a reader favorite. In Dudes, an upcom- 
ing non-genre film, Stewart has "fun seduc- 
ing a young boy," which, she notes, may 
make her even more attractive to fans. 

world Gone weird 

Adam Ant is very quiet, serious and 
thoughtful about his career as an actor, 
which he is developing with extreme care, 
taking only roles that don't relate to his im- 
age as a rock star. As Derek, he admits, he's 
"really just the antagonist. We assume some 
machinery is still available, videocassettes, 
libraries and some books. Derek's just un- 
fortunately picked the wrong books and 
videocassettes on which to base his life." 

It is, in fact, one book in particular, and 
this is sure to be the most controversial 
aspect of this SF film: It's L. Ron 
Hubbard's Dianetics. Derek uses the book 
to exert a powerful grip on his worshipful 
Cadets, cultish teenagers dressed in white, 
who ride off -trail bikes. Derek employs 
"preaching, teaching, brainwashing and 
violence," Adam Ant admits. "He beats 
them into submission, gets them terrified, 
and then does it. It scares me, in the way it's 

Though he prefers to read history and 
biography. Ant is a fan of science-fiction 
films. His favorite is Blade Runner, though 
he also likes Le Dernier Combat, THX-1138 
"and of course, A Clockwork Orange." 

Director Lee. H. Katzin began, like his 
longtime friend Bob Rosen, as an assistant 
director, and in that capacity worked on 
The Outer Limits and The Birds. Alfred 
Hitchcock, he says, "for whatever reason, 
took a shine to me" and Katzin learned 
everything from him. He directed the pilot 
movies for Space: 1999, The Stranger and 
Man from Atlantis, among others. Katzin 
was offered the TV movie pilot for Star 
Trek: The Next Generation but turned it 
down because of his involvement in World 
Gone Wild. 

Katzin loves science fiction, written as 
well as filmed, speaking familiarly of Robert 
A. Heinlein, A.E. Van Vogt and others. 
What he likes best about World Gone Wild 
is that it's "a futuristic Western and a 
morality play." He's happy with his cast, 
finding Pare "marvelously responsive," and 
Catherine Mary Stewart a "sensitive actress 
who can do anythmg." 

He directs a scene with Pare and Dern, 
now clad in a flowing grey robe. It's the big 
fight, and Pare is wounded in the shoulder. 
The young actor cheerfully goes through the 
rough-and-tumble scene several times before 
Katzin is satisfied. 

"On this fihn," he says, "we've had 
many production problems, but, at the mo- 
ment, we're going along OK. There's a great 
deal of Fellini in it, a great deal of madness, 
and hopefully a feeling that man will sur- 
vive." With a hippie as a leader? "Maybe 
that's the answer," Lee Katzin smiles. He 
returns to the set as bats wheel overhead in 
the chilly Arizona night. '^ 

76 SJARLOG/ November 1987 



This classic state of the art electronic 
watch needs no coddling. It's built to 
take the roughest handling, the toughest 
punishment and most of all, the built-in 
compass antenna enables you to find 
your way in jungles, deserts and oceans. 
If Lewis and Clark has this "puppie" 
along, they could have found the North- 
west Passage in a fraction of the time it 
took them. 

The survival watch has a long lasting 
polyvinylchloride material strdp with two 
sliding straps included. 

How can we offer this high quality Com- 
pass Survival Watch for as low as $9.00 sells in most places for much 
more? Simple, cash and lots of it to the 
manufacturer. His greed is your gain! 
Find it hard to believe? Don't worry, this 
compass survival watch has a full one- 
year money back guarantee, not includ- 
ing shipping and handling. That's how 
strongly we feel about the quality and 
durability of this great watch. 

Buy it, and when someone says "get 
lost", grin and say "sure, but I'll find my 
way back and tell you what time." 


475 Park Avenue South 


New York, N.Y. 10016 

Please rush Compass Survival Watches 


Allow 4 to 6 weeks for delivery. 
D 1 survival watch SI 2.98 


D 2 survival watches S20.00 
D 3 survival watches S27. 00 


Add S3. 00 for shipping and handling, no matter what 
quantity New York residents must add sales tax. 



Sorry no CO. D.s * 



For as little as $33, you can reach over one million SF fans, comprising the largest HEADLINE: 

science-fiction audience in the world. 

DEADLINE: For STARLOG #128— in our office by November 10, 1987 CATEGORY: 

For STARLOG #129— in our offices by December 8, 1987 
BASIC RATE: $11 per line (limit: 40 characters per line) MINIMUM— THREE PAYMENT: 

LINES. Punctuation symbols and spaces count as characters. 

Small Display ads; $90 per column inch (Camera-Ready MAIL TO: 


First line only— Word(s) of your choice (underline them) will be 

printed in BOLD CAPS. 

Please be sure to indicate the category you want to be listed 


Cash, check or money order must accompany ad order. 

(checks payable to O'Quinn Studios, inc.) 

STARLOG Magazine, Classified 475 Park Avenue South, 

New York, NY 10016 



and MOSPEADA which make up ROBOTECH as 
seen on TV are just part of Over 900 Different Star- 
ships, Starfighters, Galactic Tanks, Rockets & 
Robots offered by GTC. Send $2 for GTC's NEW 24 
page Illustrated catalog. Dealer inquires are cor- 
dially invited. Galactic Trade Commission, 10185 
Switzer, Overland Park, KS 66212 


^ if if GIANT CATALOG if if 

NOW AVAILABLE! Scripts from your lavorite Sci-Fi & Horror 

Movies. Prom FranksnsMn to Qho«tbu*tars! Over MM amazing 

titles!! Send 50« (refundable) for fiuge catalog ...Receive FREE 

offer! ! ! SCRIPT CITY, 1765 N. Highland, 

•760SL, Hollywood, CA 90028 

SPECIAL EFFECTS, Props, Make-up, storyboards, 
for low budgets: $2 for catalog, check or money 
order, only, to: RWR Productions, P.O. Box 746, 
Odessa, TX 79763 

of SF photos, audio tapes, scripts, glamour. Send 
$2.00 to STILL THINGS, 13622 Henny Ave., Sylmar, 
CA 91342 

T. Bakers avail.), Posters, Falcon's Nest, POB221, 
League City, TX 77573 $1/list 

SELLING COMIC BOOKS. Disney, Hero and Sci-Fi 
pulps. Sci-Fi and Monsters mags. James Bond, 
T.V., Avengers. T.V. Prisoner, StarTrek, T.V. Guides, 
Playboys, DarkShadows items. Movie Pressbooks, 
Posters, Lobby Cards; Photos, books, etc. 
1920-1985. Catalog $1.00 Howard Rogofsky, P.O. 
Box SL 107, Glen Oaks, NY 1 1004 

NEW EYE STUDIO P.O. Box 632, Willimantic, CT 
06226. We are the best source for SF items. Send 
$1 .00 for our fantastic and unique catalog. We carry 
Star Trek, Star Wars. Dr. Who and much more! 


• • * 





• • • 




• • • 


• • * 






■TTrr YTTTJ) >>>>.>>,>> yyTT TTJi 


Who, Avengers, Blakes 7, Trek, etc. Comprehensive 
Catalogue: $3.00 (bills only) LI .00 (U.K.). Fantasy In- 
corporated, 18 Garsmouth Way, Watford, Herts. 


available Tom McLaughlin foam latex system. We 
also sell a wide variety of professional make-up 
supplies. Send $1 .00 for new catalog. The Makeup 
Place, 1147 E. Broadway, Box 155, Glendale, CA 


Let Imagination Be Your Guide. $1 Catalog. Space 
Debris/PO Box 90, Millwood, NY 10546 

NEW 16" LIS JUPITER II boxed with cast Landing 
Gear. $49.99 ppd. Hurry, Limited edition! Now 
Ready LIS Chariot, $49.99 ppd. Also New tooling on 
8" Jupiter II and LIS Robot $17.99 each ppd. also 
proteus, Phaser I, XLS $17.99 ppd. New dinosaur 
line in! Catalog $2.00. Wanted: CE3K Mothership 
offered in Starlog. Lunar Models, Rt.5, Box 120-SL 
Rockwall, TX 75087 

CLE, Airwolf, V, Star Wars, T. Zone, UFO, Gerry 
Anderson shows. Avengers, Galactica, Knight 
Rider, Lost in Space, The Prisoner, Space 1999, 
Tripods, more! We have books, scripts, tapes, 
games, buttons, photos, blueprint, episode guides, 
jewelry, miniatures, etc. Huge illustrated catalog 
$2.00 Star Tech, P.O. Box 456, Dunlap TN 37327 

Over 700 Sd/R/Hoiror Videos 
available from $1495 to $7995 

Send $100 for Catalog. 

Uttleton. CO 80161 

in our catalog of movie and TV items for sale. Send 
for free catalogue to: Starland, PO Box 24937-S, 
Denver, CO 80222 or call 303-757-7827. 

FREE CATALOG Stickers, buttons, stationery 
items, posters. TK Graphics, Box S-1951, 
Baltimore, MD 21203. 


SF Books, Dragons, Crystals, Catalog $2. Galaxy 
Unltd.: 514 Leiand Ave; San Jose, CA 95128 

MACROSS! James Bond, Conan! Books, models, 
magazines press kits, posters! Catalog $1— refun- 
dable Richard F. Argo, Box 399, Winston, GA 30187 

STARCHILD has the largest selection of items 
from StarTrek, Star Wars, Dr. Who, Aliens, Banzai & 
much more! $3.00 for huge illustrated catalog. P.O. 
Box 1480, Boca Raton, FL 33429 

items, toys, books. Cat $2 Collect-0-Mania, P.O. 
Box 4314, Whittier.CA 90607. 

FREE CATALOG Star Wars, Trek, Indy, Posters, 
Stills, Mags & more. SILVERMOON 43321 Orchard 
Lk. Rd. Farmington, Ml 48024. 

STAR TREK, DR. WHO, STAR WARS Posters, com- 
ic books, puzzles, books, records, cardsets, much 
much more!! Send SOq; for catalog! Tom's Sci-Fi 
Novelty Shop, 7900 N. Milwaukee Ave., Niles, IL 

Autograph Collector's Magazine, PO Box 55328, 
Stockton, CA 95205. $12 Year, $17 Foreign. 



HORROR/CULT. Video Catalog: $1. Soundtrack: $1 
Adult: $1. RTS/124, Box 1829, Novate, California 

cident: 29 minutes/$27.45 postpaid: RICON, 
5863-SR Village Forest, Houston, TX 77029. Video 
brochure, send SASE. 

12 — $29 each/Sci-FI Audiotapes — $10! 
Catalog— $2 F-P(6), CP1462H, Montreal, Canada, 


PHASERS, RARE MODELS, much more from Star 
Trek, B.G., Dr. Who, etc. $1.00 to Acme Space Pro- 
ducts, 2430 West Shore Rd., Warwick, Rl 02886 


hard to find S.F. toys. For info, send SASE to 
Maurlcio Bruzual, P.O. Box 1075, NY, NY 10008. 

I PAY 1000 U.S. $ for a big Alien doll. Petra Gott- 
schlich, Pruehsstr. 81, 1000 Berlin 42, West Ger- 

Science Rction 

Movies ■ POSTERS • Buttons 

Fantasy • T-shirts • Rare SF Items 
Aerospace • Books and lots more 

Send $1.00 for giant picture catalog to: liBml"}' "'* I 

.' '" lata., f 


451 Moody Street, Suite 138S, Waltham, Mass. 02154 
■STAR TRFK SPFCIA! OFFER «1 - Startleet Academy 
T-shirt with UFP logo plus "Property of Startleet 
Command, U. S. S. Enterprise Rec Room" T-shirt, plus 
catalog only $11.95 plus $2.00 p&h (indicates, M, L, XL) 
STAR TREK SPECIAL OFFER 02 - set of 4 full-color, 
22"x34", official, high-quality movie poster reproductions 
from each of the 4 Trek movies plus catalog only $17.95 



$2 for catalog. THE MOVIE POSTER PLACE, 4090S, 
Stonehaven, S. Euclid, OH 44121. 

catalogs, 3000 illustrations $2.00 Poster Gallery, 
Box 2745-D, Ann Arbor, Ml. 48106, 313-665-3151 

78 STARLOG/November 1987 





COMMAND A STARSHIP. . .Our playbymail 
game puts you on the bridge of a powerful starship. 
Write: Fantastic Simulations, P.O. Box 24566-FM, 
Denver, CO 80224. 

Space Robot and Cyclops, Munsters, Addam's 
Family House, Big Frankie and others in built and 
unbuilt conditions. Paying top dollar. Phil Ceccola, 
PO Box 129, Bridgeport, PA 19405 (215) 277-1966. 


Offers His 



(Not for beginners) 

DICK StyllTH is teaching every detail of profes- 
sional character make-up and special make- 
up effects through a series of 20 extensive il- 
lustrated lessons, mailed at two-week intervals. 

The Course includes a video tape demonstra- 
ting appliance make-up application and 80 
color slides in addition to numerous black and 
white illustrations. 

At the end of the Course, each student will 
receive a personal critique of his work and 
counseling. Enrollment is limited for that 

ARTISTRY" will be given to those who qualify. 

For two years after the Course, students will 
receive UPDATE bulletins on new materials and 
techniques (at no charge). 

The Course Is open all year If you wish to 
apply, send 3 to 5 photos of your work with your 
inquiry to: Dick Smith, P.O. Box 511, Larchmont, 
NY 10538. Enclose a S.A.S.E. for further 
information and return of photos. 


WITCHCRAFT harness its powers. Gavin and 
Yvonne teach you how. Box 1502-SL Newbern, NC 

you need to know; diagrams, formulas, suppliers, 
sculpture tips, distributors' addresses, etc. Send a 
SASE to David Ayres Special Effects Studios, 204 
N. Fraser Dr., E., Mesa, AZ 85203. 


Send 50$ for latest arrivals list to Kensington P.O. 
Box 582-SL Clinton WA 98236 

SPOCKANALIA, the first STzine, celebrates its 
Twentieth Anniversary (9-67 to 9-87) and still going 
strong. Get the stories you've been hearing about! 
$17 5-vol set; $5 si ngleish. Poison Pen Press, Dpt T, 
627E. 8St., Bklyn, NY11218 

Star Trek Star Maps $7.50— Mark Golding, 28 
Wilson Ave., Chalfont, PA 18914 


JOIN THE UGSS! news service for all, Mason ser- 
vice for member organizations. Send SASE— 8502 
NOketo, Miles, IL 60648. 

'87 Nov. 7&8, Hyatt Regency Hotel Cambridge, MA, 
P.O. Box 6838 B&W Post Office, Boston, MA 
02102— James Doohan, Richard Hatch, Tickets 
Available through Ticketron, $17/30 at^he door. 

(continued from page 57) 

of personal appearances, both in and out of 

Readjusting his perspective, Ward has 
also ventured behind the cameras, pursuing 
ambitious goals in other areas of the enter- 
tainment industry. Reflecting his earlier 
tenure as a teen idol, he formed Entertain- 
ment Management Corporation, coor- 
dinating fan clubs for such celebrities as 
Henry Winkler, Paul Michael Glaser and 
Pat Benatar; concert merchandising for 27 
musical artists, including Hall and Oates, 
Crystal Gayle, Manhattan Transfer and Ab- 
ba; and representation for the international 
poster companies Pro Arts and Scandicorp. 

Perceiving a need in the marketplace for 
alternative methods of motion picture 
distribution. Ward has now begun yet 
another burgeoning new business, the 
Beverly Hills-based "A Night with the 
Stars." This innovative operation packages 
major studio films, via franchisees, to such 
non-theatrical outlets as schools, clubs, 
church groups, hospitals and charity 
.organizations, to provide much needed 
fundraising revenue. 

Primarily surviving on his hard-won 
business acumen, Ward still yearns for 
recognition as a serious actor. A black belt 
in karate, he has remained in top physical 
condition, and believes that he is the natural 
choice to play the robust Robin — opposite 
Adam West as the Darknight Detective — in 
the long-planned Warner Bros. film. 

"If anything, I have more knowledge and 
ability nov), than when I did the TV series," 
he announces. "The public is not stupid. 
They know that Adam and I have made 
Batman and Robin famous worldwide. 
They know our acting careers have suffered 
because of that. I think they would be very 
disenchanted to see anyone else play those 

Older and wiser after 20 years of reluctant 
dues-paying. Ward remains grateful for the 
tantalizing — albeit troublesome — taste of 
acclaim he enjoyed in his youth. Though he 
has yet to realize the promise of his past, he 
anticipates the potentisil of his future. 

"1 learned a great deal from Batman" 
Burt Ward reflects. "It was an experience I 
will treasure forever. It gave me a fantastic 
opportunity. It has enabled me to meet and 
be welcomed by people throughout the 
world. Having seen me on television, they 
treat me as though I'm their friend, as 
though I've been in their home before. 

"I truly believe I made a valuable con- 
tribution to the entertainment industry. I 
feel I'm now making an equally valuable 
contribution though my work helping 
charities. I e.xpect that my acting career will 
also continue. Eventually, what I'm present- 
ly doing in film distribution will join forces 
with what I want to do in film performing. I 
intend to accomplish much more in many 
different areas of my Ufe — and I'm confi- 
dent that you will continue hearing about 
me." ^ 


(continued from page 68) 

Noah's Ark" (1933), "Peculiar Penguins" 
(1934) and the Academy Award-winning 
"The Tortoise and the Hare" (1935). In 
Volume Nine, Chip and Dale star with 
Donald Duck in "Working for Peanuts" 
(1953, originally released in 3-D), "Donald 
Applecore" (1951) and "Dragon Around" 
(1954). Pluto stars in Volume 10; "Society 
Dog Show" (1939), "Pluto's Blue Note" 
(1947), "Pluto's Quin-puplets" (1947). 

Jules Verne's Around the World in 80 
Days ($39.98, digitally processed stereo CX- 
encoded, double-disc album, 179 minutes 
original roadshow version including original 
intermission and exit music) makes its long- 
awaited laser debut from Warner Home 
Video with Burt Lancaster's super- 
swashbuckler The Crimson Pirate ($29.98, 
mono) and Malcolm McDowell as H.G. 
Wells in Time After Time ($29.98, stereo). 

Will Vinton's Claymation® animated The 
Adventures of Mark Twain has been radical- 
ly price slashed from $59.95 to $14.95. 

A collection of Cohimbia Pictures Car- 
toon Classics features eight of the finest, most 
critically acclaimed cartoon shorts ever 
created by the legendary UPA studios. These 
cartoons are among the prime examples of 
the highly stylized, imaginative, colorful and 
humorous approach which was a revolu- 
tionary departure from the lush animation of 
the Disney studios. 

"The Tell-Tale Heart," created during the 
3-D craze of the '50s, features surrealistic, 
highly dimensional backgrounds with James 
Mason narrating the famous Poe story. One 
of the finest cartoons ever made was "Gerald 
McBoing-Boing" from the story by Dr. 
Seuss; it won an Academy Award in 1951. "A 
Unicorn in the Garden" (1953) is the 
animated adaptation of James Thurber's 
charming story of the same name and also 
serves as an impressive reproduction of his 
unique illustration style. The first Magoo car- 
toon ever created, "Ragtime Bear" (1949), 
features the remarkable voice of Jim Backus 
as the irascible Mr. Magoo — the legendary 
character who has endured through nearly 50 
theatrical shorts, three TV series, a feature 
film and numerous TV specials. "Rooty Toot 
Toot" won an Oscar in 1952 for its stylized, 
rhythmic and provocative rendition of the 
world-famous Frankie and Johnny story 
directed by John Hubley. Nominated that 
same year was "Madeline," a stunning and 
exceptionally creative cartoon rendition of 
Ludwig Bemelman's popular children's story 
about 12 schoolchildren who march through 
Paris in two straight lines. "Magoo's Puddle 
Jumper" won an Academy Award in 1956 
and features Mr. Magoo taking an eventful 
underwater ride where he encounters several 
goggle-eyed denizens of the deep. "Robin 
Hoodlum," the first theatrical UPA cartoon, 
stars the Fox and the Crow and was also 
nominated for a 1948 Academy Award. This 
50-minute collection is $19.95 in VHS and 
Beta Hi-Fi. It's a must-have! 

— David Hutchison 

ST ARLOG/ November 1987 79 

creation conventions presents 



A 10th Anniversary Tribute to George Lucas and the Caiaxy Far, Far Away which He Created! 



NOVEMBER 14.15,'87 JANUARY l-3,'88 FEBRUARY 27.28,'88 



MARCH 14-15, '88 

















HttiHltecl Days, 

4ft<» ^te«« 

,M^ 1 

Nightflyers producer Robert Jaffe used to 
be an actor. 


obert Jaffe doesn't like to settle for 
second best. But second best, in a 
• sense, is what the producer/writer 
had to settle for, in 1984, when he attempted 
to get his development hooks into a prime 
project from the pen of writer George R.R. 

"I saw a story of George's in Omni 
magazine and it totally knocked me out," 
recalls Jaffe. "I was desperately interested in 
getting the film rights to it, but, when I con- 
tacted George, he told me it was already 
under option to somebody else. But he said 
he happened to have another story up his 
sleeve that I might be interested in doing." 

.Martin's leftover turned out to be the 
moody, outer space ghost story called 
Nig III flyers. \ 

The man behind Motel Hell," Robert Jaffe, 

serves up a murder mystery in outer space, 

adapting Qeorge R.R. Martin's tale of cosmic 

terror, "Nightflyers. " 

Stuntmen help Catherine Mary Stewart lose some weight. 

STARLOG. November 1987 81 

Catherine Mary Stewart sure does get 
around. In Nightflyers, she portrays Miran- 
da Dorlac, a very different heroine from the 
one in George R.R. Martin's novella. 

The headless mad torso of a crewman 
tries to strangle Miranda Dorlac (Stevifart). 
"It's a story about people," says Jaffe. 

Nightflyers, in its original novella form, 
had already impressed enough people in the 
science-fiction community to be nominated 
for a Hugo award. But, after making the 
movie, Jaffe is still wondering whether his 
film version of Martin's story will achieve 
that kind of popularity. 

"It feels like I'm about to have a baby," 
Jaffe admits over an early morning 
breakfast. Jaffe, who still looks like a col- 
lege freshman, is picking at his breakfast 
while picking out what he believes will make 
Nightflyers a must on every moviegoers' list. 

"The story has everything you could ask 
for: Horror, suspense, mystery and 
romance," he enthuses. "Things you have 
seen before but not necessarily together and 
definitely not in this kind of movie." 

Nightflyers, starring Catherine Mary 
{Night of the Comet) Stewart (STARLOG 
#84, 117), Michael (Dynasty) Praed and 
Michael {Ghoulies) Des Barres, is the story 
of a group of misfit academics on an expedi- 
tion into deep space to find a race of in- 
terstellar nomads known as The Volcryn. 

The scientists book passage on a cybernetic 
spaceship called The Nightflyer; only to find 
out, too late, that the crew list includes an 
unseen, insane murderer who systematically 
begins slaughtering the intrepid band amidst 
the atmospheric, weightless environment of 
outer space. 

Being & weightlessness 

Integral to this science-fiction web of 
murder and mystery— a mixture Jaffe freely 
describes as "having elements of ALIEN 
and Psycho" (not to mention Friday the 
13th)— are bionic-Hke Miranda Dorlac 
(Stewart) and the mysterious Captain Royd 
Erris (Praed). The two must fend off attacks 
by blow torch and headless bodies, among 
other perils, while aboard their 9(X)-foot- 
long spaceship. 

Dark, moody and downright esoteric 
stories like Nightflyers don't necessarily 
translate into super box-office fare. They 
can be notable misfires— especially if they 
aren't well-executed. Of course, nobody was 
more aware of how cerebral and occasional- 

ly slow moving Nightflyers was than Jaffe. 
During an estimated eight drafts of the 
script over a three-year period, Jaffe made 
several intrusions into Martin's original tale. 

"We worked real hard to keep the 
original spirit of George's story," says Jaffe, 
"but we knew some things would have to be 
changed. The first thing that had to go was 
ihe story's ending. 

"The ending Martin had written was 
wonderfully moody, rich in tone and, un- 
fortunately, very depressing. What we did 
was come up with a new ending [which Jaffe 
won't describe]. 1 feel that it will keep the 
story's moody nature but not end the movie 
on a totally depressing note." 

Other alterations in Nightflyers included 
the toning down of what is described as 
"sexing" by the scientists. Additional scenes 
were added (at the time of Jaffe's option, 
Martin's story was approximately 5,000 
words shorter than its current paperback in- 
carnation). Jaffe also changed, in wholesale 
fashion, the characters' names. 

"If you've read the story, you know how 
tough George's names are," laughs Jaffe. 
"Royd Ens? Melantha Jhirl? They all sound 
like cough medicine. So, we changed them 
to names like Audrey Zale and Michael 
D'Branin— names people could actually 

Lined up for special effects duty were 
Terminator and Gremlins veterans Gene 
Warren Jr. and Leslie Huntley. Robert (Co- 
coon) Short was recruited to design certain 
outsized props and makeup requirements. 

Jaffe claims to be at a loss for any funny 
or embarrassing remembrances of the 
Nightflyers seven-week shoot but offers that 
the storyline (which takes place primarily on 
a spaceship and in a weightless envhonment) 
did translate into time-consuming work. 

"This film was like an iceberg," recalls 
Jaffe. "We had actors reacting to an 
estimated 300 miniature, optical and special 
effects shots that wouldn't be added until 

What was created on the set was the illu- 
sion of floating in outer space and in the 
gravity-free confines of the ship itself. Jaffe 
concedes that the effect (special harness- 
style rigging created by Bob Harmon and 
Bob Weisinger who worked on the first 
three Superman movies and 20J0) provided 
the most headaches. 

"Simulating weightlessness was probably 
the biggest challenge we had on 
Nightflyers," Jaffe comments. "Basically, 
done with wires. So, we were faced with giv- 
ing it our best shot and hoping for the best. 
We realized that, despite having a smoky at- 
mosphere on the ship and using busy 
backgrounds, that some wires would be visi- 
ble and that they would have to be painted 
out later." 

Jaffe remembers that author Martin 
(STARLOG #118), who has also worked as 

82 STARLOG/November 1987 

writer and story editor on the recent 
Twilight Zone revival and Beauty and the 
Beast, was an occasional visitor to the set. 
"He looked at the dailies and pretty much 
liked what he saw," says Jaffe. "I can only 
hope that he'll be happy with the finished 

A finished product that, as of this inter- 
view, was still looking for a release date. A 
projected March 1987 premiere came and 
went. Ditto May. According to Jaffe, an 
early directorial change had nothing to do 
with the delay. Numerous, complex special 
FX did. 

"The opticals and miniatures took much 
longer than we anticipated," notes Jaffe. 
"We shot certain things on the set not 
knowing how they would integrate with the 
miniatures and, because of that, many 
miniatures had to be reshot. 

"There was also some problems with film 
being scratched in the lab that necessitated 
some things being redone. But that didn't 
really delay the release date. The picture has 
been a lock for quite a while," he maintains. 
"Waiting for the right theaters and 
playdates is what caused us to wait until this 
fall to release Nightflyers." 

Robert Jaffe, born in New York City to a 
show business family, came west in 1965. 
After graduating from the University of 
Southern California as a cinema major. 

Jaffe stepped in front of the camera as an 
actor in The Mechanic, Fuzz and Everything 
You Always Wanted to Know About Sex. 
But the limitations of acting soon changed 
his career goals. 

Acting & Limitations 

"Acting is great but it's terrible when you 
can't act when you want to," says Jaffe. 
"Actors who are not very successful are 
always vulnerable to people giving them pic- 
tures to act in. I basically wanted the 
challenge of being into many different 
things all the time. So, I got out of acting 
and into writing and producing." 

Jaffe served as a story editor for Camp 
Hill Productions while, in his spare time, he 
began adapting the Dean R. Koontz 
(FANGORIA #45) novel Demon Seed to 
screenplay form. 

"I had read the book and knew im- 
mediately that it had film possibilities," 
recalls Jaffe. "For the most part, I was hap- 
py with the way the film came out; although 
I felt that the real feeling of romance bet- 
ween the computer and the girl was lost in 
the translation to film." 

Following Demon Seed, Jaffe, along with 
his brother Steven Charles Jaffe, added pro- 
ducing to his list of skills as he co-produced 
and scripted the horror cult item Motel Hell 

"Steve and I both thought the story had 
some potential as a black comedy when we 
started Motel Hell," notes Jaffe. "The pro- 
blem was that the end result wasn't as overly 
comedic as we had intended. People became 
so frightened by what they saw that they 
missed most of the film's comic intent. We 

Project coordinator Miranda (Stewart) 
discusses the mysterious occurrences 
aboard the ship with the holographic form 
of Captain Royd Erris (IMichael Praed). 

wanted Motel Hell to satirize the kinds of 
horror films coming out at that time. People 
now realize that was our idea more than 
they did back then." 

Jaffe concedes that Motel Hell, in terms 
of finding its audience, was a cake walk 
compared to his prospects with Nightflyers. 
And with good reason. 

Nightflyers, at best, is a moody, 
somewhat esoteric piece of fiction. But while 
expressing concern, Jaffe stops short of call- 
ing his film adaptation a longshot. 

"The people who went to see Star Trek 
IV will be the ones who'll go see this film," 
he maintains. "That fact alone will 
guarantee them a real surprise because, 
while I don't want to knock Star Trek fans, 
they aren't the people who will have read 
Martin's story because it's too esoteric. 

"Even the people who have read the story 
will be surprised at what we've done. We 
withhold the mystery of the central 
character's relationship to the killer a little 
longer than the book does. We've made the 
heroine less the bionic woman she was 
originally and more of a human being. 
There's also the mystery of the ship itself. 
And obviously fans of Martin's story will be 
curious about how a favorite story makes 
out as a film." 

Robert Jaffe swallows a last cup of coffee 
before making his final pitch on behalf of 

"The bottom line is that this isn't just 
another special effects film," he insists. 
"It's a story about people. People in peril. 
People in love with each other and with 
discovery. I think, because of that, 
Nightflyers will find a place." , "^ 

In this "Psycho in Space" thriller, the Cap- 
tain (Michael Praed) finds himself in some 
shocking situations. 

^►►►►laii Marter 

Harry Sullivan's Travels 

A departed companion to "Doctor Who" is 

remembered as iiis hopes, dreams & tales of 

the TARDIS are recalled in his own words. 



If, when Ian Marter was a child, a gypsy 
had foretold he would become an actor, 
he would have been incredulous. "As a 
kid, I was terribly shy and was always the 
one who didn't want to be asked to do 
something," he recalled while attending the 
August 1984 Tardiscon. "The idea of hav- 
ing to put on a performance really horrified 
me. I hated the idea of failure. Aiid still do, 
as everybody does. But if you're not 
prepared to hazard — to take a gamble — you 
never do anything! 

"I suppose I went through all the usual 
repertoire of ambitions, but 1 never par- 

STARLOC correspondents, are the authors 
of Travel Without the TARDIS (Target, 
$3.25). They profiled Jacqueline Pearce in 
issue #12L This interview with Ian Marter 
(who passed away last year), conducted in 
August 1984, has not been published until 

84 SI AKLOG/ November 1987 

ticularly wanted to be an actor until I went 
to university where I began to act a great 
deal." Marter confirmed his choice of career 
was to become a writer until, as he explain- 
ed, "My girl friend — who I later mar- 
ried — had to go to an interview at the Old 
Vic Company. She said, 'Why don't you 
come along, something might turn up at the 
auditions.' In the end, somebody didn't turn 
up, I went on and got a job! I wasn't the 
sort of person who said, 'I want to go to 
drama school,' because I didn't go to drama 
school and I didn't originally want to be an 
actor. Sometimes I feel that I'm totally half- 
hearted about it." 

Before Ian Marter died last year, he was 
an active and popular member of the Doctor 
Who community. As Surgeon-Lieutenant 
Harry Sullivan, a bumbling military officer, 
Marter accompanied Tom Baker through 
several Doctor Who adventures. After his 
character left the series, Marter pursued his 
earlier writing ambitions and turned his at- 
tentions to producing several Doctor Who 
novelizations and an original Who Compa- 
nion novel, Harry Sullivan 's War. 

As an actor with ambitions to be a writer, 
Marter often found himself frustrated by 

"The Doctor should have people around 
him who are resisting him as well as help- 
ing him," explained Marter of his compa- 
nion philosophy that didn't gel when both 
he and Nicholas Courtney (as the 
Brigadier) played against Baker. 

the words other people wrote for his 
character. Encouraged by Tom Baker, he 
finally decided to combine the two careers. 

"All actors get frustrated by scripts, I 
think," he observed. "I used to. I would 
want to write things differently; many actors 
feel that. The script wasn't particularly 
special to me. That's not to say scriptwriters 
don't have problems, too. Of course they 
do. But we used to find quite often on Doc- 
tor Who that people didn't write the sort of 
style we felt we should have had and we 
tended to contribute many dialogue 
changes. We would throw out things that 
didn't seem to work and substitute 
something else, maybe substitute a bit of ac- 
tion rather than dialogue. Tom Baker 
[STARLOG #115], Lis Sladen and I had a 
great principle: If you can do it, don't say it. 

"Obviously, we weren't in charge, the 
directors and so on were, but writers can 
write awkwardly. Sometimes, stuff that 

doesn't appear to be awkward in print 
doesn't quite gel when you try to say it or do 
it. I find it quite difficult to judge what's 
good script writing and what's bad. It's very 
difficult to judge until you start to rehearse 
and then you discover a part that originally 
reads well doesn't always work." 

Marter found just the opposite happening 
to him as he worked to turn a televised script 
into a novel. "There might be some dialogue 
with something visually happening 
underneath it which you can't actually 
recapture on the page, because if you 
describe it, it becomes something else," he 
noted. "You can elaborate on the descrip- 
tions, that's totally permissible, because 
when somebody's reading a book, they have 

written as it could have been. The Doctor 
should have people around him who are 
resisting him as well as helping him. It seems 
to me if you have a hero character or 
heroine character, you need to be surround- 
ed by friends. If the friends are too low-key 
or too incompetent, it diminishes the hero or 
the heroine. The opposite of what you 
think. The stronger you make their compa- 
nions, then — provided the actor playing the 
hero or heroine is up to it — then the stronger 
that person becomes from the strength of 
the people around him. To me, it seems a 
great mistake to believe you make a 
character bigger by surrounding him with 
idiots. You actually do the opposite. Harry 
may have been a bit of a humbler, but he 

to visualize it and you've got to help them. 
So, you must give them as much as you can 
and that's what I try to do within the limits 
allowed by the publication format." 

Trouble with Harry 

During his tenure as a Doctor Who com- 
panion, before he embarked on his writing 
career, Marter occasionally felt disappointed 
with the character of Harry Sullivan. "The 
producers thought they might need 
somebody [when Jon Pertwee left and 
before Tom Baker became the Doctor] to 
rush about and throw things — jump out of 
windows and go through burning buildings 
and rescue damsels," Marter explained. 
"So, for some reason, they asked me to play 
this character they were planning to invent. 
But then, of course, Tom was cast and it 
was obvious he didn't need someone else to 
do all those things. So, they had to change 
the character's conception and make Harry 
a bit of a humbler and an idiot — although 
good-hearted with the best intentions! 

"It became more interesting in one way," 
he mused, "and, in another way, less in- 
teresting because they had to change the for- 
mat. They didn't make the character as well- 

was also a trained doctor . . . and they never 
let him be one. 

"In Harry's first story, 'Robot,' he was 
quite funny in the early stages when he had 
to deal with the Doctor's recovery and the 
Doctor didn't appear to be quite right — hav- 
ing two hearts and all that. But you had to 
tread a very careful line not to make him an 
idiot! Even there, they trembled on the 
brink, leaving the audience to wonder how 
anybody as daft as that could be a doctor in 
any kind of military organization. It just 
wouldn't happen. Quite honestly, I think 
part of the problem [the production team 
had] was perceiving Doctor Who as for kids 
and assuming they could get away with that. 
That's untrue. You must be more 
careful because kids aren't fools. They pick 
up things and notice things like crazy." 

Human Achievement 

Even if the supporting characters were 
made stronger, Marter could justify how the 
Doctor would remain the hero. "It seems to 
me the audience is prepared to accept that 
the Doctor will allow things to get out of 
hand just to see how well the other humans 
cope with it," he commented. 

"He knows in the end that he can pro- 
bably deal with it but — for whatever 
reason — he allows things to develop and 
allows the humans to make their attempt 
and then he comes in at the right moment 
and does the clever thing. Or, not always the 
clever thing, but sometimes the accidental 
thing. I remember Tom saying that the Doc- 
tor mustn't be too much of a magician. It 
mustn't be possible for him to just take 
gadgets out of his pocket and give them a 
name and say, 'Ah, well, now I'll cut 
through this 28-foot lead shield with this 
pencil because it's a special lead-shield cut- 
ting pencil.' If he can do that, then there's 
no story because he can do anything. He's 
never going to be in danger." 

It was easy at one time for Marter to 
make the hypothetical choice between a 
writing career or an acting career. "If I 
could only do the sort of writing or acting 
I've done so far, I would find it very dif- 
ficult to answer. But if I could do the writing 
or acting I would really like to do, I would 
prefer to write," he said. "To me, there's a 
side of acting I'm not really interested 
in — the ego side. I find it terribly tiresome. 1 
dislike it a great deal, but it is necessary if 
you want to 'get on.' " 

Despite his strong dual careers, Marter 
would not have characterized himself as a 
"Renaissance man." "That term could only 
be used for someone like Isaac Asimov," 
Marter insisted. "To be a scientist and a 
writer and a popularizer — an amazing set of 
achievements!" Marter maintained that he 
would have preferred to be thought of as a 
multitalented person rather than just the 
person who portrayed Harry Sullivan. "Oh 
God, yes! If I'm going to be remembered as 
just that, I would rather be forgotten com- 

"I don't want to be remembered, after- 
wards. That's no kind of hassle to me, to 
think of just disappearing without a trace — I 
don't see the problem. I don't particularly 
want to leave a mark, but while people are 
alive who knew me, I hope they'll remember 
me in some kind of goodish way. 

"As for being a kind of post mortem 
figure, I don't care at all about that. I don't 
have any kind of religious beliefs. I believe 
that when I die, I'll become a pile of dust 
and just blow away. Like everybody else. 
'Not too bad a person,' I suppose is OK [as 
an epitaph]. It sounds like fake modesty to 
say that, but I just think that when you go 
out on a clear night and there are so many 
stars out .... What impact do we have on it 

Ian Marter died on October 29, 1986, in 
his London apartment at age 42. The cause 
of death was a heart attack. Marter, a 
diabetic for many years, was always taking 
very good care of himself, but diabetes is 
well-known for triggering early heart at- 
tacks. No doubt a great many fans — both 
those who were fortunate enough to meet 
him and those who only admired from a 
distance — will go out on a clear night, look 
up at the stars and remember Ian Marter as 
"not too bad a person." ife 

SJARl.OG/ November 1987 85 

The results are fantastic. The print shown here 
was tal<en in fuli color with the Spy Camera, but 
naturally looses some of it's sharpness and detail 
when converted to black and white. 

You can take pictures using any quality 110 film, 
black and white or color, from airplanes, the Em- 
pire State Building, of people, and get shapr, clear 
results that you would expect from cameras sell- 
ing at up to $100.00, with bright 4" x 5" prints. 
Think of the opportunities for use in all types of 
covert operations, or merely surprise your friends 
with shots they wouldn't ordinarily pose for. 

Hide it in your pocket, sock or wear it around your 
neck, with black cord supplied. 





Put yourself behing the lens of this all 

new quality pocket size camera you have 

been waiting for! The size Is only 2¥4" x 

3^", and you can take those pictures you 

have always wanted without anyone 

knowing they have been photographed. 



B^^^^I^BB^^ ^^^^H^^^^^^^^^^ 

HHp * 




475 Park Avenue South ^^^^f^^^^^ 
New York. NY 10016 ^^^^ 

Please rush the niimhpr nf nni c;p„ 
Cameras that 1 have checked below. 
Allow 4 to 6 weeks for delivery. 

D one for only S12.98 

D two for only S20.00 

Add S3. 00 for shipping and handling, no matter wt- 
quantity. New York residents must add sales tax. 
Sorry no C.O.D.s 













DEPT. SC-20 


(continued from page 41) 

that have happened since. A day doesn't go 
by that I'm not asked about Star Trek." 

There is a possibility that the cycle will 
start anew for Goldstone with the launching 
of Earth*Star Voyager. While he feels that 
there are some significant similarities be- 
tween this mini-series and his last genre ex- 
cursion, there are just as many differences. 
In fact, the director notes that a different 
reality had to be created for this effort, 
because the Star Trek reality was more 

"Because 22 years ago we were telling 
human stories while people were out in 
space," he explains. "Nobody had done 
much work with people in space, except in 
Buck Rogers-ish kind of things. We were 
dealing with Shakespearean stories and 
Greek myths in an arena that hadn't yet 
been explored. Well, that arena has now 
been explored by many talented and not-so- 
talented people. Audiences feel that they 
have been there thanks to Star Wars, Star 
Trek and especially 2001. Now, there is a 
reality to being out in space. Back then, we 
were creating the reality, but now you have 
to take the audience who has been condi- 
tioned to playing out fantasies in outer 
space, and place them in a situation they will 
readily recognize. 

"Earth*Star Voyager is also about kids, 
which Star Trek was not. These are kids 
ranging in age from 14 to 25 years old, and 
the whole point is that they have the same 
kind of social problems dealing with each 
other as they might if they were in high 
school or college. And yet they're going 
through adventures in space." 

Like Star Trek, Earth*Star Voyager will 
be making allegorical comments while at the 
same time presenting an optimistic view of 
the future, this despite the slowly dying 

"Earth* Star Voyager certainly makes 
statements along the way," says Goldstone. 
"It's an adventure, but it involves Darwi- 
nian ideas, such as natural selection and sur- 
vival of the fittest. This is the same kind of 
material that Gene Roddenberry was dealing 
with on Star Trek. We can tell any story, but 
my job as a storyteller is to relate what will 
interest others. It obviously interested me 
when I took it on. 

"Earth*Star Voyager says we're going to 
grow up excited about the discoveries we're 
going to make," James Goldstone observes. 
"Somehow we're going to get there. The 
premise is that in a certain number of years, 
the Earth will be uninhabitable and we have 
to find another planet. One could have 
either a negative or positive reaction to the 
situation. This is a positive one that 
catapults those kids into adventure. The 
film's end is the excitement of being on the 
way. They go from innocent kids to being 
aware and motivated adults, no matter what 
their age. They become Earth for the viewer, 
and the journey is going to be worth it for all 
of us." . ^ 


(continued from page 65) 

watched turned out to be bullshit. All public 
relations. It's like America has done this 
huge movie about itself for the last 50 years 
and presented it to the world as a facade. 
You get here and look around the edges and 
there's the reality. I've learned to love it 
here, but it was a shock. 

"But you do come to a middle ground. 
You learn to accept them and they learn to 
accept you." 

Wells has decided to make a go at an 
American film career for the next five years, 
although his next leading role is for a Cana- 
dian production company. He stars in a 
movie, tentatively titled Roo Man, about a 
bare-knuckle boxer who comes out of retire- 
ment when he learns his championship may 
have been a sham, setting out to prove he 
has the stuff. Wells describes the role as 
challenging — Roo Marcus, the title 
character, is slightly retarded and an emo- 
tional child who has been confused all his 
life. Wells is hopeful about this role, but is 
philosophical about his profession, and 
reveals ambitions that extend beyond the 

"The wheel goes around. When it stops 
for you, it's your turn. I used to get depress- 
ed when I didn't get a role. It used to upset 
me, but time after time, just as I was feeling 
my worst, I would get a call for a role that 
was better than the one I lost," he muses. 
"For all the crap that you must go through, 
those are the moments that put you right 
back up there and make you know it's all 
worth doing. I hope this career leaves me in 
the position to do what I would like to do, 
which is basically enjoy life. And 1 like do- 
ing charity things. I did quite a bit of that 
last year and I found I really enjoyed it. I 
hope I will be in a position where I can be 
selective about what I do, be able to do 
things that please me, directing, writing, 
community things, traveUng— seeing places 
on this planet I haven't seen. We're only 
here a short time. If acting doesn't work 
out, I'll do something else." 

Wells will be the first to tell you that he 
owes it all to his mother. "I was blessed with 
great parents," he says. "They taught me 
the value of things. My mother was a very 
gifted songwriter who gave up her career to 
raise three children. When I got into this 
business, I had this dream that I would get a 
starring role in a movie and I would put my 
mom in a car and take her to the premiere. 
My name would be there in three-foot-high 
letters and she would sit there and be able to 
see a part of herself there up on the screen. 
Because she had given everything up for me, 
this would be her payback. She had always 
been my reality in a world of fantasy. If I 
got discouraged, she would say, 'You 
started this, now finish it.' " 

Vernon Wells smiles proudly. "In 18 
months, I was able to do what I hoped. I 
took her to the premiere of The Road War- 
rior. And she was the only one in a theater 
of 1,500 people to cheer for the bad guy." 


(continued from page 31) 

there were bits he didn't want to do because 
they were too hazardous. If he was out, 
there went the show. 

STARLOG: You split directing the first 
season with Tommy Carr — that season was 
suspenseful, scary and exciting. 
SHOLEM: We had good scripts and we had 
a good cast. The play is the thing, 
regardless. What happens with so many TV 
series is that they start to drag because they 
don't have any fresh blood and it makes a 

STArLoG: There was one episode which 
you directed called "The Stolen Costume," 
in which two criminals discover that Clark 
Kent is actually Superman and try to bribe 
him. As a result. Superman leaves them 
trapped on an ice precipice, from which they 
fall to their deaths. That episode stunned me 
as a kid. 

SHOLEM: I'm sure you've seen things 
which are more spectacular than that show. 
You were a kid — that makes it a different 
story as well. When you get older, you get 
somewhat more sophisticated. 
STARLOG: It's fascinating that all these 
years have passed and now people are say- 
ing, "The people who made The Adven- 
tures of Superman really gave us something 
to treasure," yet you're so laidback about it. 
SHOLEM: Well, it was a job. You write an 
article, and when it's over, you put it aside. 
You have your scrapbooks, so that when 
you go ahead to life and fortune, you have 
them to look at. You'll feel the same way 
that I do. It's a fascinating business. It's 
fun. It has its ups and downs, but I'm 
grateful I've been in it. 
STARLOG: You approached the Superman 
TV series as you did the feature, as just 
another job? 

SHOLEM: Not really. I wanted to do every 
one of those episodes better. I really did. 
I've always felt that way, but I never chang- 
ed my way of planning. I was happy with 
what I did, and I guess they were happy with 
the way I did it. 

STARLOG: Why did you leave Superman 
after the first season? 

SHOLEM: I had another job, and it was 
more important to me than doing Super- 
man. I worked in Australia for a whole year, 
which was marvelous, and my wife and I 
traveled around the world in four months. . 
You can't beat that. 

STARLOG: Have you seen any of the re- 
cent Superman films? 
SHOLEM: Yes, I have. They're successful, 
but, frankly, I think they have too much in 
them. They're much too large, and paying a 
guy millions of dollars for 15 minutes worth 
of time just doesn't make sense to me. The 
original Supermans were more like comic 
strips, but this is more of an epic. 
Christopher Reeve does, however, make a 
good Superman. 

STARLOG: How do you think he com- 
pares to George Reeves? 
SHOLEM: I'm a little partial [laughs]. ■^ 

SI ARLOG/ November 1987 87 

aKing a Trip 






Actor-tumed-director John Newland 
became a reluctant expert on the paranor- 
mal after hosting One Step Beyond. 

Beyond the land of shadow & substance lay a TVterritory In which 
John Newland explored the boundaries of psychic phenomena & 

bizarre experiences. 


ave you ever been certain the 
telephone would ring within the 
next 10 seconds? Or have you ever 
walked down a street and had the feeling 
you knew what lay beyond the unturned 
corner? Yes? Then, you 've had a brief en- 
counter with the world of the unknown. . . a 
small step beyond. Now, take a giant one!" 
— John Newland in his opening 
comments to^each episode 
of One Step Beyond. 

JOHN Mccarty is the author o/ Splatter 
Movies: Breaking the Last Taboo of the 
Screen (St. Martin's Press, SI 3. 95 J; Alfred 
Hitchcock Presents (St. Martin's Press, 
$12.95); Psychos: 80 Years of Mad Movies, 
Maniacs and Murderous Deeds (St. 
Martin's Press, $12.95) and The Films of 
John Huston (Citadel Press, $19.95). He has 
contributed to FANGORIA, TV Guide and 
other publications. This is his first article for 

Of the many memorable anthology series 
dealing with mysterious or outre themes that 
populated network television during the late 
1950s and early '60s, perhaps the most 
unusual was One Step Beyond, which ran 
on ABC for three seasons beginning in 1959. 

What made the series so unusual — even 
special — was its unique subject matter, for 
unlike its more well-known competitors in 
the dramatic anthology field (Alfred Hitch- 
cock Presents, The Twilight Zone, Thriller, 
et al), the half-hour dramas of One Step 
Beyond were based on recorded cases of 
bizarre human experiences in the realm of 
psychic phenomena. These accounts were 
drawn from the extensive resources of both 
the American and British Societies for 
Psychical Research, as well as more than 
8,000 Volumes culled from libraries here and 
aboard. Indeed, it was this very element of 
personal experience which made the series 
an extremely chilling program overall. 

Case in point: An episode entitled "Night 
of April 14," the story of a series of 

premonitions experienced by various people 
around the world prior to the Titanic 
disaster. Host John Newland caps the 
episode by holding up the aged copy of a 
novel written by a man named Robinson 
which describes in vivid Irwin Allen-esque 
detail the sinking of the world's largest lux- 
ury liner on its maiden voyage fron London 
to New York. Robinson's fictional liner, 
deemed unsinkable, is named the Titan. The 
novel, Newland concludes chillingly, was 
published in 1898 — 14 years before the 
Titanic disaster. Gives you the shivers, 
doesn't it? Well, this episode was not 
atypical. The series' 95 other segments all 
generated similar frissons. Together, they 
add up to what was, and still is, one of the 
creepiest shows on the air. 

One Step Beyond — which was billed as 
Alcoa Presents: One Step Beyond during its 
network run — was the brainchild of writer 
Merwin Gerard, a veteran of burlesque, 
Broadway and radio, who had been in- 
terested in psychic phenomena since his 

88 STARLOG/A/^ovew6e/- 1987 

youth. "The airwaves were filled with 
Westerns," Gerard told the press. "I was 
tired of them and decided to go for 
something untried but true." The result was 
a proposal for a triple-threat anthology 
series tentatively titled Imagination. "One 
week, we would present a fantasy episode, 
the next week, something dealing with 
psychic phenomena, and the third week, a 
flat-out horror tale." 

Gerard took his proposal to director John 
Newland, a friend since their World War II 
Air Force days. Newland, who began his 
career as an actor (he earned a Best Actor 
Emmy nomination for his work on Robert 
Montgomery Presents) then shifted to 
directing, liked it and, in turn, approached 
independent producer Collier Young. "Col- 
lier was a far more successful entrepreneur 
than we were in those days," Newland says. 
"We felt he stood a better chance of selling 
the project than we did." Young, who is 
now deceased, suggested the show's focus 
be narrowed to psychic phenomena — a sub- 
ject no TV anthology had as yet 
tackled — and the title was changed to One 
Step Beyond. Gerard and writer Larry Mar- 
cus penned a pilot script called "The Bride 
■ Possessed" (about deja vu) and Young 
secured financing from the Aluminium 
Company of America (Alcoa). "We shot 
the pilot (which starred Skip Homeier and 
Virginia Leith) on the MGM lot in March 
1959," recounts Newland. "It took three 
days and cost $24,000. Alcoa sold it to the 
networks that September and we were off 
and running. Our unit produced the 
episodes and delivered the prints to ABC. 
There was no censorship, no network in- 
volvement at any time. Those were the 
heavenly days!" 

Everybody Has A Dream 

Like so many series of the '50s and '60s, 
One Step Beyond served as a proving 
ground for many of today's most well- 
known and popular performers, including 
William Shatner (whom Newland would 
one day direct in an episode of Star Trek), 
Warren Beatty, Charles Bronson, Elizabeth 
Montgomery, Yvette Mimieux, Jack Lord, 
Donald Pleasence and many others. Direc- 
tor Leo (Amazing Stories) Penn and Ralph 
{Charly) Nelson also appeared before the 
camera. "Ralph Nelson had directed live 
television and wanted to learn film," 
Newland says. "As a favor, 1 cast him in the 
episode 'Forked Lightning' so that he could 
learn the ropes." I 

In addition to directing each episode, > 
Newland, a recognizable figure to TV au- 
diences, signed on as the series' host. "Prior 
to the show, 1 had no expertise in or 
familiarity with the field of the 
paranormal," he says. "But during the 
show's run, I met so many crazy people and 
heard so many crazy stories that 1 became 

Virginia Leith was "The Bride 
Possessed"— and Skip IHomeier the hus- 
band who confronted a wife with someone 
else's personality— in the pilot episode of 
One Step Beyond. 

sort of an 'expert' — to the extent that I 
finally went on tour, giving lectures at col- 
leges and so on. The show's impact was 
enormous. There was no middleground 
reaction. People either loved it or hated it. 
We got bags of mail — most of it addressed 
to me personally. People accused me of be- 
ing the Antichrist. Others said, 'Only God 
can make such miracles happen!' Letters 
ranged from calling me Satan to telling me I 
was full of shit. But as 1 found when I 
started giving lectures, the minute you got to 
everybody's bedrock, they said, 'However, 1 
do have a funny story about a dream I once 
had . . . ' It was interesting to watch their 
resistance subside. Anything unknown is 

The key to the show was the absolute 
sincerity and straightness-of-face with which 
Newland directed the episodes and delivered 
his on-screen remarks. Some segments got 
very far out indeed. In "Rendezvous," for 
example, the widow of a marine killed in the 
war is accosted one night by a would-be 
rapist. But she's saved by the timely ap- 
pearance of her dead husband, whose ghost 
appears not to her but to the rapist, scaring 
him into the arms of the police. 
, And in "Moment of Hate," a distraught 
young fashion designer turns to a 
psychiatrist for help because she's convinced 
her thoughts kill whenever she is aroused to 
extreme emotion. Two people for whom she 

bore intense ill will have died already, she 
says. The doctor tries to convince her that 
the deaths were coincidences and to prove 
his point goads her into wishing him dead. 
Terrified, she refuses, and, in despair, col- 
lapses into his arms, sobbing, "I'm so tired, 
1 wish I were dead." Seconds later, she falls 
lifelessly to the floor. Enter Newland. 
"What really happened to Karen 
Wadsworth?" he asks. "A series of cruel 
and bewildering coincidences? Or a few 
moments of hate and despair so enormous 
that they could actually be felt by others? In 
the April 13, 1959 issue of Time magazine, a 
curious experiment was reported. Two rows 
of see'ds were planted. The seeds were 
chosen from the same package, planted in 
the same earth by the same people and cared 
for equally. With one exception. The first 
row was prayed over. The second was curs- 
ed. The first row flourished. The second 

"We never tried to explain how these 
things happened, just that they did," says 
Newland. "Of course, we knew that once 
the FCC got wind of us, we would have to 
be able to prove this claim and that's why 
we went to such tremendous lengths to 
authenticate our stories and even provide 
support material like the experiment 
reported in Time. All the stories we used had 
their genesis in wellrdocumented fact. We 
even went so far as to get ourselves a 

STARLOG/November 1987 89 

technical advisor — Ivan Klapper, then-head 
of the American Society of Psychical 
Research. Ivan also acted as a story source." 

True Life Stories 

Several episodes dealt with paranormal 
events surrounding the lives of famous 
figures. One of the most well known, 
"Night of Decision," portrays General 
George Washington at a turning point in the 
Revolutionary War. Forced to decide be- 
tween continuing the apparently hopeless 
struggle of his ragtag army or making a set- 
tlement with the British, Washington has a 
vision in which he is confronted by the ghost 
of Chief Otumcus, his nemesis at the battle 
of the Monongahela during the French and 
Indian War. Otumcus suggests that 

Washington survived that famous skirmish 
for some greater purpose. Later, 
Washington has a dream and the next morn- 
ing decides to toughen out the winter and 
launch a new campaign against the British in 
the spring. 

"You won't find anything about it in the 
ordinary history books," says Newland. 
"But this incident has appeared in print in 
many versions a number of times during the 
past 150 years. All versions agree that 
Washington dreamed that the Revolution 
would be successful and that the infant na- 
tion would grow until its boundaries 
stretched from Canada to Mexico and from 
the Atlantic to the Pacific. And that there 
would be a bitter civil war between the nor- 
thern and the southern states. . . to be called 

A supernatural history lesson was offered 
when General George Washington (Robert 
Douglas) was visited by the ghost of Chief 
Otumcus (Richard Hale) on the "Night of 

the Union and the Confederacy. And that 
llic Union would emerge victorious. He 
dreamed all this, supposedly, and more. 

"But what is absolutely no dream are the 
facts of the battle of the Monongahela. On 
this, all versions and all historians agree. 
There were three bullet holes through 
Washington's hat, two horses were shot out 
from under him... and there were four 
bullet holes in the chest of his uniform. 
Hundreds of French and Indian rifles firing 
at him at point blank range throughout that 
long and dreadful afternoon and nothing 
touched him. Noihing. Like Chief Otum- 
cus, it will always cause us much wonder." 

Ill yet another episode, the series' only 
iwo-parter, Newland introduced the bizarre 
story of Dutch psychic Peter Hurkos to 
American audiences for the first time. 
Hurkos would later gain even more fame for 
his psychic detective work on the Boston 
St rangier and Sharon Tate murder cases, 
among others. Although Newland main- 
tains that the show took no liberties with the 
established facts of Hurkos' life, Hurkos 
sued anyway and the segments were kept out 
of syndication due to subsequent legal en- 
tanglements. The story was done as a two- 
parter, Newland adds, because the intention 
was to release it as a theatrical feature in 
Europe. But due to Hurkos' lawsuit, those 
plans never materialized. The two-part 
episode can still be seen, however, for it is 
housed (along with the series' 95 other 
episodes) in the permanent collection of the 
UCLA film and television archives. 

"Person Unknown" was another semi- 
biographical episode, the story of Mexican 
aritst Dr. Atl, who was held over in an 
almost deserted convent for political reasons 
during the early days of the Mexican 
Revolution. The legend of the convent, in 
which a man was strangled to death by 
something not visible to the eye, is repeated 
when a Captain Alvarez arrives to take Atl 
to jail and is similarly strangled. Atl is accus- 
ed but subsequently cleared. The real Dr. 
Atl, who survived the incident to become 
one of Mexico's most famous artists and art 
critics, was interviewed by Newland on- 
screen expressly for the show. 

Perhaps the series' most bizarre episode 
involved Newland himself. Predating the 
works of Carlos Castaneda and the film 
Altered Stales, it recounts the quest for an 
elusive species of mushroom, known only as 
Brand X, believed to enhance the ESP of 
those who eat it. A documentary (the only 
one in the series), it took producer Collier 
Young and Newland to a remote part of 
Mexico, the village of Juquilla, as members 
of an expedition headed by Dr. Andrija 
Puharich, author of the book The Sacred 
Mushroom, which also served as the 
episode's title. Two other professional 
parapsychologists from the University of 
California at Los Angeles and the University 

90 STARLOG//Vove/77te/- 1987 

The police demanded "Justice," but the alleged murderer was asleep among 
witnesses at the time of the killing. 

of Washington accompanied tine group. The 
episode shows ihe expedition party locate 
the mushroom with the help of a Mexican 
bniju and details the reactions of the in- 
dividual party members to eating the 
mushrooms. The episode ends at Dr. 
Puharich's laboratory in Carmel, Califor- 
nia, where John Newland finally eats the 
mushroom himself and undergoes extensive 
ESP tests. "At one point, 1 envisioned 
reaching my hand right through a wall," 
Newland recalls. "The expression of awe 
and wonder on my face as 1 accurately 
described what my fingers were 'touching' 
on the other side of that wall convinced even 
Larry Marcus, our holdout skeptic, that 
there was more to this business than meets 
the eye." 

Letters from viewers also provided grist 
for the show's bizarre mill. After a tidal 
wave hit Hawaii in May 1960, for example, 
a letter w^as received with a newspaper clip- 
ping that told of a retired, deaf xa captain 
who had saved the life of a crippled woman 
whose cries for help he had mysteriously 
"heard" in the gale. The story was verified, 
a script written, and the show ("Tidal 
Wave") went on the air that August. The 
crippled woman, Mrs. Margaret North, ap- 
peared on-screen with Newland to confirm 
the incident. 

Because the television medium was and is 
such a terrific gobbler of material. One Siep 
Beyond quickly explored almost every type 
of occult phenomenon the show's research- 
ers could unearth. "Actually, there are only 
about 15 basic psychic phenomena stories," 
Merwin Gerard has said. "Every story we 
did was just a variation of one of those 15 
basic themes." As a result, Newland sug- 
gested that they move the show to England 
to give it a fresh look. 

"So many of the stories we had dohe were 

based on occurrences that had taken place in 
Lngland— which we then transposed to 
America for convenience purposes — that 1 
thought it would be intriguing to go there," 
Newland says. "The whole culture there is 
steeped in psychic phenomena. Practically 
every house has its resident ghost. So, we 
located ourselves at MGM's studio in 
Borehamwood and shot 13 episodes with 
all-British casts. I remember that 
Christopher Lee, who had recently made a 
big splash in Honor of Dracula, appeared 
for us in an episode called 'The Sorcerer,' 
his American television debut." According 
to Newland, the British experiment led to 
the show's undoing. "The ratings plum- 
meted," he says. "Remember, these were 
the days before Masterpiece Theatre and 
American audiences just weren't used to 
hearing all those British accents. Anyway, 
the network dropped the show and that was 
that. In syndication, however. One Step 
Beyond has never been off the air. It still 
plays all over the world — sometimes at four 
in the morning — but it's still on!" 

Now that so many of television's classic 
series of the '50s and '60s are being brought 
back in updated form, a network revival of 
One Step Beyond would seem inevitable. 
But John Newland feels differently. "We 
tried it in 1978," he notes. "We shot 24 
half-hour episodes for a syndicated series 
called The Next Step Beyond, a sequel in 
color that retained the same flavor and for- 
mat of the earlier show. Merwin Gerard was 
the writer/creator and I was the host/direc- 
tor. The shows were equally good, but the 
series just didn't make it. and the reasons it 
didn't, I think, rests squarely with me. 
Frankly, viewers who tuned in because they 
recalled the first show with fondness just 
didn't want to see an older, fatter John 
Newland." ■# 


Very, very limited! 

Produced exclusively for the STAR WARS 10th onniver- 
sary celebration in Los Angeles {at which George Lucas 
made his only convention appearance, ever!) these 
special items are available only from this ad. Limited 
quantities remain and when this stock is sold — no 
more will be made! ! ! 

Personal messages from SF and movie celebrities to George Lucas, 
the Production Story of STAR WARS ,rare photos, 28 pages on 
enamel stock, plus special tribute 
and nriGssage from Lucas. 
Limited printing — limited quontit 

Bright red. 50/50 cotton/poly material, shirt includes a front- 
and-back design: STAR WARS, The First Ten Years, emblem in gold 
on chest — multi-color event logo, dates, etc. on back. 
Limited quantity — M, L, XL only. 


Send cosh, ctieck or money order to 
Starlog Press 

475 Park Avenue South 
New York, NY 10016 


$5.00 each 

plus postage; $1.00 for one 
(U.S.) Sl.SOfortwo 

$2.00 for three 


$10.00 each 

plus postoge: S2.00 for one 


or more 
$2.00 each 


size: MED_ 

$3.00 for two 
S4.00 for three 
or more 
$3.00 eoch 

(no other sizes available) 








IMPORTANT: U.S. dollars only! 
Pleose allow four weeks for U.S. 
delivery, and up to eight weeks elsewhere. 

..:^.^» «iMw l fc 


One step 

It ' 




In "The Dark Room," Clqri* ieachmaff 
played a photographer involved with a 
murderous stranger. 


One Step Beyond 

Premiere: January 26, 1959 (A6C) 

Final episode*: August 4, 1961 (ABC) 

Total episodes: 96 

* Reruns continued until October 3, 1961. The 
following week, One Slep Beyond was replaced in 
its Thursday 10 p.m. time slot by James A. 
Michener's Adventures in Paradise, starring 
Gardner McKay. 

General Credits: 

Producer: Collier Young 

Director/Host: John Newland 

Executive writer: Larry Marcus 

Series creator and associate producer: Merwin 


An exclusive guided tour of TV's anthological 
land of the strange and unusual. 

Writers: Charles Beaumont, Martin Benson, 
Alfred Brenner, Francis Cockrell, Paul David, 
Copp Dewitt, Bob & Wanda Duncan, John 
Dunkel, Jerome Guskin, Merwin Gerard, 
Charles Larson, Don M. Mankiewicz, Larry 
Marcus, Joseph Petracca, Michael Plant, Jerry 
Quinn, Catherine Turney, Gabrielle Upton, Col- 
lier Young. (Note: individual episode writing 
credits are unavailable). 
Special consultant: Ivan Klapf)er 
Music: Harry Lubin 

Director of photography: Dale Deverman 
Assistant directors: George W. Davis, Addison 

Editor:'Henry Berman 
Set decorators: Henry Grace, Jack Mills 
Music editor: Gilbert Marchant 

Recording supervisor: Franklin Milton 

Script sufjervisor: Jane Flicker 

A Joseph M. Schenck Enterprises Production in 

association with ABC Films. Filmed at Metro- 


Episode Guide 

The First Season 
The Bride Possessed (1-20-59) 
Cast: Skip Homeier, Virginia Leith, Harry 

As a young bride Sally Conroy and her husband 
Matt head for California on their honeymoon, 
Sally, who has never been to California before, 
mysteriously assumes the identity of a dead girl 
named Karen Wharton who allegedly committed 

92 ST AKLOG/ November 1987 

suicide there. Sally says Karen was actually 
murdered. To prove her point, she leads her hus- 
band and a helpful doctor to the spot where the 
murder weapon is buried. 

The Night of April 14th (1-27-59) 
Cast: Barbara Lord, Patrick MacNee 
An English girl has a terrifying dream of drown- 
ing in icy ocean water, although her honeymoon is 
planned for Switzerland. Then, her fiance an- 
nounces a big surprise — he has changed their 
plans so that they can sail on the maiden voyage 
of the Tilanic. 

Emergency Only (2-3-59) 
Cast: Lin McCarthy, Jocelyn Brando, Paula 

At a Manhattan cocktail party, a man has his 
future foretold by a guest. One by one, the predic- 
tions come true. 

The Dark Room (2-10-59) 

Cast: Cloris Leachman, Marcel Dalio, Ivan 

Triesault, Paul Dubov, Ann Codec 

Rita Morrison, a photographer for an American 

picture magazine, goes to France to do a series of 

portraits. One of the men who sits for her turns 

out to be an elusive strangler. 

Twelve Hours to Live (2-17-59) 

Cast: Jean Allison, Paul Richards 

Carol Jansen and her husband Will have a marital 

spat. He drives off in a huff during a severe 

storm. Sensing that he's in danger, she sets out to 

find him. 

Epilogue (2-24-59) 

Cast: Charles Aidman, Julie Adams, Charles 

Herbert, William Schallert 

Unknown to him, a man's wife and son are 

caught in a mine cave-in, but he finds them in 

time, thanks to a helpful ghost. 

The Dream (3-3-59) 

Cast: Reginald Owen, Molly Roden, Phillip 

Tonge, Jack Lynn, Peter Gordon 

Following the evacuation of Dunkirk, a British 

volunteer and his wife have a bizarre dream about 

a possible German invasion of England. 

Premonition (3-10-59) 

Cast: Beverly Washburn, Julie Payne, Pamela 

Lincoln, David Garcia, Paul Langton, Clare 

Corelli, Thomas B. Henry 

A young girl has a terrifying premonition of being 

crushed by the chandelier hanging in the ballroom 

of her home. Years later, she and her fiance are 

about to announce their engagement. Her father 

suggests they hold the reception in the ballroom. 

Reluctantly, the girl agrees. 

The Dead Part of the House (3-17-59) 
Cast: Mimi Gibson, Philip Abbott, Joanne Lin- 
ville, Philip Ahn 

A little girl discovers three dolls in a vacant room 
of her new home. Later, her family learns of a ter- 
rible tragedy which befell three children many 
years ago in the same room. 

The Vision (3-24-59) 

Cast: Bruce Gordon, Pernell Roberts, H.M. 

Wynant, Peter Miles, Jerry Oddo 

In the midst of German gunfire, a strange light 

appears in the sky. Four French soldiers see it, lay 

down their arms and leave the battlefield. At their 

court martial, the soldiers are condemned to 

death. But their lives are spared when the 

presiding officers subsequently receive a strange 

verification of the soldiers' pacifist "vision." 

The Devil's Laughter (3-31-59) 

Cast: Alfred Ryder, jPatrick Westwood, Ben 

Wright, Lester Mathews, Leslie Denisoh, Alma 

Lawton, John Ainsworth 

•A condemned murderer insists that he cannot be 
executed. At the gallows, his boasts mysteriously 
prove correct. 

The Return of Mitchell Campion (4-7-59) 
Cast: Patrick O'Neal, Lilyan Chauvin, Richard 

Ordered to take a long vacation after recovering 
from a near fatal accident, Mitchell Campion 
decides to visit a small Mediterranean island, 
where he is stunned to find that everyone knows 
him — even though he has never been there before. 

The Navigator (4-14-59) 

Cast: Robert EUenstein, Don Dubbins, Joel 

Fluellen, Stephen Roberts, Robert Osterloh, 

Don Womack, Olen Soule 

A ship's first mate alters his vessel's course when 

he becomes convinced it's headed for disaster. 

The Secret (4-21-59) 

Cast: Maria Palmer, Robert Douglas, Molly 
Glessing, Arthur Gould-Porter, Albert Carrier 
Rummaging through an old trunk, Sylvia 
Ackroyd makes a mysterious link with the past 
when she finds an old Ouija board. 

The Aerialist (4-28-59) 

Cast: Mike Connors, Robert Carricart, Yvette 

Vickers, Ruggero Romor, Penny Stanton, 

Charles Watts, Vernon Rice 

The Flying Patruzzios have a violent argument 

before starting their circus trapeze act. They climb 

the ladders to the trapeze platforms high in the 

tent, the safety nets are removed, and they plunge 

one step beyond into a strange adventure. 

The Burning Giri (5-5-59) 

Cast: Luana Anders, Sandra Knight, Olive 

Deering, Ed Piatt 

Young Alice Denning is accused of starting fires. 

She denies it, but can't evade the fact that the fires 

have all started when she's nearby. 

The Haunted U-Boat (5-12-59) 

Cast: Eric Feldary, Werner Klemperer, Kurt 

Flakenberg, Wesley Lau, Siegfried Speck, Paul 

Busch, Frank Obershall, Norberto Kerner 

A strange hammering terrifies the crew of the 

U-147 and threatens the craft's safety. 

The Image of Death (5-19-59) 
Cast: Max Adrian, Doris Dowling, John 
Wengraff, Gregory Gay, Deidre Owens 
After his first wife dies, the Marquis de la Roget 
remarries. Following the wedding, a mysterious 
image takes shape on the chateau wall. The Mar- 
quis sees it as a threat to his new bride's safety. 

The Captain's Guests (5-26-59) 
Cast: Robert Webber, Nancy Hadley, Thomas 
Coley, John Lorimer, Felix Locher 
A young couple moves into an old New England 
seacoast house and the husband becomes possess- 
ed by the spirit of its former owner. 

Echo (6-2-59) 

Cast: Ross Martin, Leslie Barrett, Ed Kemmerr, 

Rusty Lane, Ed Glover, Edna Holland, Robert 


A man sees a terrifying vision shortly after being 

acquitted of murdering his wife. 

Front Runner (6-9-59) 

Cast: Ben Cooper, Walter Burke, Sandy Ken- 

A dying jockey reveals that 20 years earlier, he 
fouled his teacher and benefactor, a top rider who 
subsequently disappeared — only to turn up one 
more time in a very strange photo finish. 

The Riddle (6-16-59) 

Cast: Warren Stevens, Bethel Leslie, Patrick 

Westwood, Barry Atwater, Arthur Batanides 
An American tourist traveling by train through 
India comes upon an old man with a rooster and 
goes inexplicably berserk. 

The Second Season 

Delusion (9-15-59) 

Cast: Norman Lloyd, David White, Suzanne 

Pleshette, George Mitchell 

A mild-mannered accountant unexpectedly 

refuses to permit a transfusion of his rare blood 

type to save a dying girl. 

Ordeal on Locust Street (9-22-59) 
Cast: Suzanne Lloyd, Augusta Dabney, Jack ^ 
Kirkwopd, Jr., David Brown 
.Anna Parish brings her fiance, Danny, home to 
meet the family . . . including that mysterious per- 
son (or creature) locked away in a secret room. 

Brainwave (10-6-59) 

Cast: George Grizzard, Whit Bissell, Tod An- 
drews, Ray Bailey 

A pharmacist's mate on a destroyer escort, driven 
to drink by his brother's death in battle, is faced 
with an acid test of his character and medical 
training when he must help perform a delicate 
operation to save his wounded captain's life. 

Doomsday (10-13-59) 

Cast: Torin Thatcher, Patricia Michon, Donald 


The Earl of Donamoor orders his son's girl friend 

ne\er to see his son again. When the boy becomes 

ill and dies, the Earl tries the girl for witchcraft. 

She goes to her death, placing a curse on all 

firstborn children of the Donamoor Clan. 

Jack Lord and CeCe Whitney relive the 
days of burlesque in "Father Image." 

Night of the Kill (10-20-59) 

Cast: Dennis Holmes, Fred Bier 

A mysterious creature saves the life of a little boy 

lost in the woods. 

The Inheritance (10-27-59) 

Cast: Jan Miner, Sean McClory, Estelita, 

Iphigenie Castiglioni 

A beautiful pearl necklace belonging to the dying 

STAKhOG/November 1987 93 

Trying to avoid imprisonment, an escaped convict (Franlt Overton) received a new 
sentence from "The Justice Tree" in the yard of a widow (Saiiy Brophy) and her son 
(Charles l-lerbert). 

Countess Ferenzi triggers a series of bizarre 

The Open Window (11-3-59) 

Cast: Michelle Harris, Louise Fletcher, Lori 

March, Charles Seel 

An artist observes a woman in the building next 

door pleading with an unseen man who then tries 

to kill her. 

Message From Clara (11-10-59) 
Cast: Barbara Baxley, Robert Ellenstein, Celia 
Lovsky, Oscar Beregi, Jr., Renata Vanna 
Teacher Lois Morrison accepts a brooch from one 
of her adult education students. Soon after, she 
begins writing in an unfamiliar, foreign hand. 

Forked Lightning (11-17-59) 

Cast: Ralph Nelson, Frank Maxwell, Roberta 

Haynes, Candy Moore ' 

Two men from different walks of life have an 

unexplained premonition of a violent death 

waiting in their futures. 

Reunion (11-24-59) 

Cast: Betsy von Furstenberg, Paul Carr, Rory 

As World War II begins, a group of young Ger- 
man glider enthusiasts agree to reunite the first 
Sunday after the war's end. 

Dead Ringer (12-1-59) 

Cast: Norma Crane, Grant Williams, Ed Pren- 
tiss, Olive Blakeney 

A housewife has visions of her sister setting an or- 
phanage on fu'e. 

The Stone Cutter (12-8-59) 

Cast: Joe Mantel, Arthur Shields, Walter 

Burke, Don Beddoe, Chester Stratton 

An old tombstone cutter makes a weird prediction 

of death. 

Father Image (12-15-59) 

Cast: Jack Lord, CeCe Whitney, Ian Wolfe, 

Frank Scannel, George Selk 

A young man inherits his father's estate, including 

a mysterious old burlesque theater in Chicago 

boarded up for nearly 30 years. 

Make Me Not a Witch (12-22-59) 

Cast: Patty McCormick, Leo Perm, Eileen 

Ryan, Robert Emhardt 

Emmy Horvath tells her parents of things that she 

"has seen." They accuse her of being a sorceress. 

The Hand (12-29-59) 

Cast: Robert Loggia, Miriam Colon, Pete Can- 
doli, Joe Sullivan 

After stabbing a girl in an alley, nightclub piano 
player Tom Grant is plagued by guilt and a ghost- 
ly phenomenon. 

The Justice Tree (1-5-60) 

Cast: Frank Overton, Sally Brophy, Charles 


On his way to jail, a convict escapes and takes 

refuge with a widow and her young son, whom he 

holds hostage. 

Earthquake (1-12-60) 

Cast: David Opatoshu, Olan Soule 

Recounts unexplained phenomena preceding the 

great ^an Francisco earthquake of 1906 as seen 
through the eyes of a hotel bellboy, who 
represents a composite of many persons who had 
dreams, visions and other warnings of the 

Forest of the Night (1-19-60) 

Cast: Alfred Ryder, Mark Roberts, Douglas 

Dick, Stacy Graham 

A group of businessmen on a mountain vacation 

amuse themselves with a small Chinese box which 

is purported to have mystical powers. 

Call From Tomorrow (1-26-60) 
Cast: Margaret Phillips, Arthur Franz 
Actress Elena Stacey returns home from a 
sanitarium following a nervous breakdown caus- 
ed by her child's death. Soon after, the strange 
cries of a child begin haunting her. 

Who Are You? (2-2-60) 
Cast: Reba Waters, Anna Lee, Philip Borneuf 
A 12-year-old girl miraculously survives an attack 
of scarlet fever only to assume the personality of 
another girl long dead. 

The Day the World Wept: The Lincoln Story 


Cast: Barry Atwater, Jeanne Bates, Eric 

Sinclair, Theodore Newton, Norman Leavitt, 

Riza Royce, Watson Downs, Tom Middleton, 

Jonathan Hole 

Several baffling incidents of supranormal 

phenomena preceding and surrounding the death 

of Abraham Lincoln are dramatized — including a 

premonition experienced by Lincoln himself. 

The Lovers (2-16-60) 

Cast: Vanessa Brown, John Beal, Rudolph 
Anders, Irene Tedrow, Sig Ruman, Lili Valenti 
A retired postman and a waitress cause an out- 
break of fwltergeist activity whenever they kiss. 

VanUhing Point (2-23-60) 
Cast: Edward Binns, Fredd Wayne, June Vin- 
cent, William Alyn, Arthur Hanson 
Freed after charges of murdering his wife, whom 
he claims disappeared, a desperate husband 
methodically starts tearing his house apart in 
search of her. 

The Mask (3-1-60) 

Cast: Wesley Lau, Luis Van Rooten, Joan 

Elam, Stephen Bekassy 

While recuperating from a plane crash in the 

Egyptian desert, a U.S. Air Force lieutenant 

comes to believe that the spirit of a centuries-dead 

Egyptian prince has possessed him. 

The Haunting (3-8-60) 

Cast: Ronald Howard, Keith McConnell, 

Christine White, Doris Lloyd 

After allowing his companion to freeze to death in 

a skiing accident, Colin Chandler returns home 

and is confronted by the man's ghost. 

The Explorer (3-15-60) 

Cast: Gregory Hanson, John Wengraf, Jeremy 

Slate, Rudolph Anders, Edith Evanson, Eddie 

Firestone, Bert Convy 

A Swedish explorer pays a visit to a geography 

teacher in a small Norwegian village to tell him 

how the latter's son saved an expedition from 

death in the trackless, arid lower Sahara Desert. 

An explanation of the phenomenal adventure 

leads to an even more perplexing disclosure. 

The Clown (3-22-60) 

Cast: Mickey Shaughnessy, Yvette Mimieux, 

Christopher Dark, Jack Daley, Jim Nolan 

A jealous husband inadvertently kills his wife 

when he misconstrues her rendezvous with a mute 

clown as a love affair. 

94 ST ARLOG/ November 1987 

I Saw You Tomorrow (4-5-60) 
Cast: Rosemary Murphy, John Hudson 
A man overhears a violent argument between two 
other guests in the private home where he is stay- 
ing. He runs into their room in time to see a man 
killing his wife with a poker. But when he goes to 
tell his hostess, he discovers the couple is very 
much alive. 

Encounter (4-12-60) 

Cast: Robert Douglas, Barbara Stuart, John 

Carlyle, Mike Forrest, Ted Otis 

A lone pilot is mysteriously abducted out of the 

sky, disappears for days, then suddenly reappears 

minus his plane a thousand miles from his last 

known position. 

The Peter Hurkos Story: Part I (4-19-60) Part II 


Cast: Albert Salmi, Betty Garde, Alf Kjellin, 
Andrew Prine 

In 1943, Dutch house painter Peter Hurkos falls 
35 feet from a ladder, fracturing his skull. He re- 
mains in a coma for days. When he regains con- 
sciousness, he discovers he has developed psychic 
powers and goes on to become an internationally 
famous psychic detective. 

Delia (5-3-60) 

Cast: Lee Phillips, Barbara Lord, Murray 
Matheson, Maureen Leeds, Salvador Baquez, 
Peter Camlin 

While on vacation in Central America, a disillu- 
sioned, lonely man falls in love with a mysterious 
girl who subsequently disappears. 

The Visitor (5-10-60) 

Cast: Joan Fontaine, Warren Beatty, Charles 


Ellen and Harry Grayson divorce after 20 years of 

marriage. He departs on a trip, intending never to 

return. At that moment, she is visited by an image 

of what Harry had been 20 years before. 

-'Gypsy (5-24-60) 
Cast: Ron Randell, Catherine McLeod, Alex- 
ander Lockwood, Jason Johnson, Rodney Bell, 
Jeanne Tatum 

The story of a telepathic experience between two 
total strangers 3,0()0 miles apart. 

The Lonely Room (5-31-60) 

Cast: Fabrizio Miomi, Letizia Noverese, Carl 

Esmond, Maurice Marsac, Peter Camlin 

Henri falls for the lovely Terese but is too shy to 

tell her. So, his doppleganger takes over. 

House of the Dead (6-7-60) 

Cast: Mario Alcade, Laya Raki, Stephen 

Cheng, Hilda Plowright, James Hong, Beal 

Wong, Allen Jung 

Lt. Harry Eraser proposes to Mei Ling on the eve 

of his departure for England. When he returns for 

her the next day, she has disappeared, launching 

him on a long and frantic search. 

Goodbye Grandpa (6-14-60) 
Cast: Edgar Stehli, Anna Karen, Candy Moore, 
Donald Losby 

A tired old railroader who relishes telling of his 
days as a crack trainman promises his seven-year- 
old grandson that he'll bid the boy farewell in a 
special way before going "home" for good. 

The Storm (6-21-60) 

Cast: Lee Bergere, Rebecca Welles, Danny 
Zaldivar, Argentina Brunetti, Raoul DeLeon, 
Ernest Sarricino, Abel Franco, Joe Dominquez 
Noel Bernhaim and his wife Adele visit a Chicago 
art institute where Adele had been a student. 
There, they see a beautiful canvas painted by a 
brilliant young artist killed in action in Germany 
seven years before. Shocked because she knows 

that the painting had been only half-finished prior 
to the artist's entering the army, Adele determines 
to solve the mystery. 

Tidal Wave (8-30-60) 

Cast: Jean Allison, Cliff Hall, Dennis Patrick 

Trapped in her house during a tidal wave alert, 

polio victim Margaret North is saved by a retired 

sea captain and the phenomenon of thought 


The Final Season 

Anniversary of a Murder (9-27-60) 
Cast: Harry Townes, Randy Stuart, Amzie 
Strickland, Alexander Lockwood, James 

Guilt plagues a man and woman over a car acci- 
dent in which a boy was killed. 

The Death Waltz (10-4-60) 
Cast: Elizabeth Montgomery, Robert Sampson, 
Ed Prentiss, Joe Cronin, K.T. Stevens 
The selfish daughter of an army colonel persuades 
her father to send a suitor on an Indian scouting 
expedition so that he won't annoy her at an up- 
coming dress ball — only to have the suitor return 
in death. 

The Return (10-11-60) 
Cast: Dick Davalos, Jack Mullaney, Chris 
• Winters, Charles Gray 

Corporal Cossage is blinded and lost during a 
routine mission in Korea. Through unexplained 
events, he manages to find his way back to camp. 

If You See Sally (10-18-60) 

Cast: Anne Whitefield, George Mitchell, Mary 

Lou Taylor, Pat McCaffrie 

A traveling salesman gives a girl a lift home, only 

to learn from her parents that she was killed in a 

car accident some years before. 

Prematurely grey, Warren Beatty was "The 
Visitor," a 20-years-younger vision of Joan 
Fontaine's husband. 

Moment of Hate (10-25-60) 

Cast: Joanne Linville, John Kellogg, Joyce 

Chapman, James Milhollin, Tina Marie 

Galloso, Diane Driscoll 

A fashion designer is convinced that her thoughts 

can kill whenever she is aroused to extreme anger. 

To Know the End (11-1-60) 

Cast: Elen WiUard, Sally Fraser, Alexander Da- 

vion, Noel Drayton, James Forrest, Anthony 

Eustrel, Jean Fenwick 

An English librarian, vacationing in southern 

France, foresees the death in battle of a stranger 

who is to become her husband. 

The Trap (11-15-60) 

Cast: Mike Kellin, Alex Gerry, Ruth Story, Bert 

In the "Forest of the Night," Mark Roberts 
had an eerie encounter with a "magical" 
Chinese box. 

Betrayed and bewitched by Elizabeth 
Montgomery, Robert Sampson 
(baci^ground) cuts in on Joe Cronin for 
"The Death Waltz." 

Reinsen, Jeanne Bates, Francis Desales, Joan 


A healthy man develops an acute case of 

claustrophobia, starts to have a ravenous thirst 

and begins to suffer dehydration. A perceptive 

doctor saves him as well as a trapped stranger 

many miles away. 

The Voice (11-22-60) 

Cast; Robert Lansing, Paul George, Luana 

Anders, Carl Benton Reid, David Lewis, Harry 


A reporter is sent to cover a trial in a small New 

England town where several people are accused of 

burning down a barn in an attempt to kill a pet 

raccoon that speaks in seven languages. 

The Promise (11-29-60) 

Cast: William Shatner, Deidre Owen, Ben 


A man promises his wife that he will accept no 

more bomb deactivation jobs. But then, a friend 

persuades him to defuse just one more. 

Tonight at 12:17 (12-6-60) 
Cast; Peggy Ann Garner, John Lasell, Jack 

The harrowing experience of a California woman 
who has a premonition of an airplane crashing in- 
to her bedroom, 

Where Are They? (12-13-60) 

Cast: Philip Pine, Joan Tompkins, Richard 


Boulders rain from the sky onto a small Califor- 
nia town. 

Legacy of Love (12-20-60) 

Cast; Norma Crane, Charles Aidman, OUie 

O'Toole, Barbara Eiler, Olan Soule, Joe 

McGuinn, Al Hopson, Jon Lorimer, Louise 


A man and a woman are unaccountably drawn to 

one another when they arrive at a resort hotel. 

Both feel that they have visited the place 

before — and together. 

Rendezvous (12-27-60) 

Cast: Georgann Johnson, Donald Murphy, 

H.M. Wynant, Warren Kemerling, L.K. Smith, 

Fred Coby 

A woman is rescued from a rapist by her dead 

husband's ghost. 

The Executioner (1-3-61) 

Cast: Buzz Martin, Crahan Denton, Tom Mid- 

dleton, Wm J. White 

On the eve of his execution, a Confederate soldier 

is saved by the timely intervention of his 

dog— which Union soldiers shot hours before. 

The Last Round (1-10-61) 
Cast: Charles Bronson, Stewart Taylor, Felix 
DeBank, Ronald Long, Wally Cassel, Gordon 
Richards, John Indrisano 
The ghost of a former champ appears in the dress- 
ing room of a young boxer to give him pointers on 
his upcoming title bout. 

Dead Man's Tale (1-17-61) 

Cast: Lonny Chapman, Jean Engstrom, Walter 

Reed, Charles Steel, Lucy Prentiss 

A reporter perpetrates a hoax to net some extra 

cash only to have his story come true. 

The Sacred Mushroom (1-24-61) 

A documentary about the search for an 

hallucinogenic mushroom in the wilds of Mexico. 

The Gift (1-31-61) 

Cast: Mary Sinclair, Betty Garde, Scott 


A gypsy palm reader envisions her son strangling 

one of her patrons to death. She sets out in vain to 

prevent the fated crime from occurring. 

Person Unknown (2-7-61) 

Cast: David Stewart, Robert Carricut, Rudolph 

Acosta, Danny Bravo, Argentina Brunetti, Jan 


A political prisoner is accused of strangUng a 

policeman in his cell where another man was 

strangled years before by a person— or 

creature — unknown. 

Night of Decision (2-21-61) 
Cast; Robert Douglas, Richard Tyler, Richard 
Hale, Richard Carlyle, Ken Drake, Donald 

At Valley Forge, General George Washington ex- 
periences a vision that persuades him to continue 
his struggle against the British. 

The Stranger (2-28-61) 

Cast: Peter Dyneley, Bill Nagy, Patrick 

McAlliney, Graham Stark, Ken Wayne, John 


An incarcerated man somehow manages to save 

the lives of seven people in a massive earthquake. 

Justice (3-7-61) 

Cast: Meredith Edwards, Clifford Evans, Ed- 
ward Evans, Barbara MuUe, Pauline Jamieson, 
Ewen Roberts 

A man confesses to a murder, leading police 
straight to the corpse. But the congregation at his 
church testifies that he was alseep in his pew at the 
time the murder was committed. 

The Face (3-14-61) 

Cast: Sean Kelly, John Brown, Gareth Tandy, 

Robin Summer, Penelope Horner 

Stephen Bolt has a nightly dream in which he is 

murdered by a stranger. He describes his slayer's 

face to an artist and sets out with drawing in hand 

to find the assassin and strike first. 

The Room Upstairs (3-21-61) 

Cast: Lois Maxwell, David Knight, Anthony 

Oliver, Gilda Emmanueli, Carl Bernard 

A childless couple moves into a house where, late 

at night, they hear a child crying . . . then discover 

the sewing room has been converted into a 


Signal Received (4-4-61) 
Cast: Mark Eden, Richard Gale, Terry Palmer 
Three young sailors have a premonition that their 
ship will go down. They calculate the date and 
hour, but then, one of them learns from a fortune 
teller that he will have a long life. The day before 
the impending disaster, he is transferred to 
another ship. 

The Confession (4-11-61) 

Cast: Donald Pleasence, Adrienne Corri, Robert 


An ambitious prosecutor is haunted by the ghost 

of an innocent man he knowingly sent to his 


The Avengers (4-25-61) 

Cast: Andre Morell, Lisa Gastoni, Stanley Van 


A German general occupies a haunted chateau 

during World War II. 

The Prisoner (5-2-61) 

Cast: Anton Diffring, Catherine Feller, Faith 


As an act of revenge, a girl shoots a man who 

turns out to be dead already. 

Blood Flower (5-16-61) 

Cast: Larry Gates, Eugene Iglasias, Marya 


A young patriot dies attempting to assassinate a 

dictator. On the spot where his blood was spilled, 

an indestructible flower takes root. 

The Sorcerer (5-23-61) 

Cast: Christopher Lee, Martin Benson, Gabrielli 


A German lieutenant confesses to his girl friend's 

murder. However, a military court proves that he 

was 500 miles away in an army camp at the time 

of the killing. 

The VUla (6-6-61) 

Cast: Elizabeth Sellars, Ronald Lewis, Geoffrey 

Toone, Michael Crawford, Maria Landi 

While in a hypnotic trance, a woman has a vision 

of someone trapped in an elevator. 

The Tiger (6-20-61) 

Cast: Pamela Brown, Pauline Challenor, 
Elspeth March, Patsy Smart 
A new governess, hired to care for a nine-year- 
old, believes that her charge is plotting to 
eliminate her when she discovers enormous claw 
marks and yellow fur around the estate. 

Nightmare (6-27-61) 

Cast: Peter Wyngarde, Mary Peach, Ambrosine 

Philpotts, Jean Cadell, Ferdy Mayne 

A young artist finds himself painting the same 

unknown woman in each of his works. 

Eye Witness (74-61) 

Cast: John Meillon, Rose Alba, Anton Rogers, 

Robin Hughes 

A reporter writes a story predicting an explosion 

15,000 miles away. ^ 

96 STARLOG/zVove/nZ^e/- 1987 


Take command of a Klingon battlecruiser, Romulan warbird, or Gorn raider and pit yourself against the mighty 
warships of Star Fleet with this exciting new game from FASA. The STAR TREK Starship Tactical Combat Game is actually 
two games in one. First, it's a boardgame titled "Star Fleet Command And Staff College; Starship Tactics", and second, 
it's a roleplaying game titled "Command And Control". Starship movement, weapons, shields, and damage repair are 
presented in a three-part, learn-as-you-go format so that players are not bogged down with lengthy, complex rules systems. 

Each game includes all the rules, charts, dice, and playing pieces (over 300 counters) needed to play. Don't wait. 
Start a galactic war today with STAR TREK Starship Tactical Combat Game. (2003) 

To add to the excitement and adventure, FASA also produces 1/3900 scale metal starship miniatures {Enterprise is 
approximately 3" long) for use with the starship combat game or as collectibles. These finely detailed miniatures (some 
are pictured above) add another dimension to your gaming sesions and increase the "fun-factor" to levels "where no 
man has gone before". If you're going to start a galactic war, why not go all the way and include some of the FASA Star 
Trek Starship Miniatures, winners of both the 1985 and 1986 H.G. Wells Awards for best miniatures. 


The Star Trek IV Sourcebook contains detailed informa- 
n on the "Politics of Genesis Project", "State of the Fed- 
ration", "Uniform Code of Military Justice", the many 
aliens shown in the movie, prototype ships, articles on the 
sovereignty of member states, a review of security proce- 

{ures, a timeline of STAR TREK history, and where FASA 
roductsfit in. The real highlight of this book is the 16-page 
color section depicting alien members of the United Feder- 
ition of Planets and giving brief descriptions of their origins. 
The Star Trek IV Sourcebook is a must for the serious 
fan/gamer who wants to keep up with the ever-changing 
■niverse of Star Trek. (2224) 

pend check or money order to: 

475 Park Avenue South 
New York, NY 10016 


Trek is a registered trademark of Paramount Pictures Corporation 
yripht * 1986 Paramount Pictures Corporation 
Rights Reserved. 

(Please Prim) 

Name _ 
Address . 

City, State, Zip . 

Quant. Stk# 



















Star Trek Starship Combat Simulator Game 
Star Trek IV Sourcebook 
USS Enterprise (New) 
USS Reliant (Cruiser) 
Klingon D-7 (Battlecmiser) 
Romulan Bird of Prey (Cruiser) 
USS Enterprise (Old) 
Regula I Space Laboratory 
Romulan Winged Defender (Cruiser) 
USS Excelsior (Battleship, ST III) 
Klingon L-42 Bird of Prey (Frigate, ST III) 
USS Grissom (Research Vessel, ST III) 
Kobayashi Maru (Freighter) 
Romulan Gallant Wing (Cruiser) 
USS Baker (Destroyer) 
Romulan Nova (Battleship) 
Romulan Bright One (Destroyer) 
Klingon L-24 (Battleship) 

(Foreign orders - $5.00 Shipping) Shipping & 


Price Total 




















Handling $2.50 






y grandmother, who is 94, flew for the first time the 
other day. Which, I think, is remarkable. Plus, she 
used a plane! 

She has spent 93-odd years avoiding the air travel 
experience — lost luggage, long lines, stewardess smiles — OK 
maybe not 93, something less than 84 years. After all, Orville 
& Wilbur Wright only got off the ground themselves in 1903. 
And they didn't have any other passengers on board, much 
less an in-flight movie and complimentary beverage service. 

Still, my grandmother, Mildred Young, has managed to 
avoid taking flight, even when her sons, daughters, relatives, 
friends and their ilk were scattered to the winds, drifting far 
from her native Altoona, Pennsylvania. They went to 
Washington, DC, New Mexico, Texas, Los Angeles, West 
Virginia and other venues — but no airports there for her. 
When Mildred Young came visiting, it was via the old 
reliable, feet-on-the-ground, no-head-in-the-clouds type of 
public transportation, the bus (go Greyhound, leave the 
driving to us), the train (all aboard America, all aboard for 
Amtrak). No dirigibles, choppers or 747s. 

All, that is, till the other day, when at 94 and on soarin' 
safari from the nursing home in Lebanon, Pennsylvania, my 
grandmother and three other fellow residents went aloft in a 
cozy Cessna Skyhawk. And they circled around. Up There, in 
Chuck Yeager Territory, for 20 aerial minutes or so. 

So, I debriefed Mildred Young about this brand new 
experience during my latest visit. 

What did she think of her awesome venture into the great 

"Well," she said, "it was all right." 

That's my grandmother, right down to the understated 
delivery of a particularly droll stand-up comic. 

"Everything I looked at was small," the intrepid aviatrix 
continued. "Cars moving, people walking, tiny houses." 

I was familiar with this concept. We see a great many 
miniatures in SF films. 

And was she happy about making this flight? 

"I was happy," she replied, "to get down in one piece." 

But, I wondered, did she have the Right Stuff? Would she 
return to the azure skies for an aeronautical encore? 

"Yes, I'll go up again," Mildred Young explained. "Flying 
was all right." 

Speaking of flight, candor— or is it the smaller bottled 
variety, Kandor? — requires that I report on Superman IV: 
The Quest for Peace. Before its release, there was cautious 
praise (by me) for its prospects (STARLOG #119). Months 
later, while I watched Superman IV, sunk deep in my seat 
with popcorn buttering my knee, I was reminded of Airport 
and The Hindenburg. The Quest for Peace: a disaster film or 
a filmed disaster? (Yes,, yes, the script was better than the 
movie, really! Of course, editing a half-hour out of the 
inexpensive-looking flick couldn't have improved its 
aerodynamics). ' 

Just last issue. Superman /K director Sidney J. Furie (in an 

Hey! That's my flying Grandma, Mildred Young— with a blue- 
screened copy of David Hutchison's Film Magic (Prentice- 
Hall, $12.95). 

interview with Ed Gross before the sequel's release) noted that 
directors are "like gunslingers. We don't win every duel." 

Sadly, that's the case with Superman IV. 

The special effects weren't the best I've seen, either. And 
hey, I know special effects— CINEMAGIC's David Hut- 
chison tells me about them all the time. Hutch, our esteemed 
Special FX Editor, has employed his FX expertise in a swell 
new book. Film Magic. It's designed especially for the layman 
(i.e. the folks who haven't heard of blue screen or miniatures 
and didn't notice that great drive-in matte painting shot in 
The Monster Squad). The cover, I had the cover somewhere, 
in miniature on my desk— oh, there it is. Let's blue screen it 
in up there. Take a gander. 

The collected works of David Hutchison also include 
STARLOG PRESS' four-volume Special Effects series and 
Fantastic 3-D. They're both available from our Guidebooks 
ad on the page opposite — and what a coincidence, that! ! 

Let me also mention British Correspondent Adam Pirani. 
As you may have noticed, Adam has been absent from these 
pages for several issues, resurfacing only recently (in #120) to 
profile Sebastian Shaw, one face of Darth Vader, and to 
tackle yet another, David Prowse, shortly. That was to be it. 
Adam had tired of writing and I had even drafted some words 
about his changing careers for this very space. Fortunately, he 
has reconsidered. So, I've thrown those comments away 
(gladly) and I can announce here that Adam will be back, 
with about 12 articles throughout the next year. 

By the way, we've long been concerned about promising, 
just below, in that nifty box, stories that we don't actually 
deliver in the next issue (due to unavailability of photos). So, 
we're not doing that anymore. OK, we'll promise just one, 
the one we're certain will be there (like silently running Bruce 
Dern), while we reveal six or seven more due to touch down in 
the near -but-not-necessarily-next future. That's the way to 
fly! I'm like my grandmother. I'm happy to get it down to 
(promising) just one piece. 

—David McDonnell /Editor (August 1987) 

The future in STARLOG: In upcoming months, John Carpenter explains his return to Hollywood and the 
making of Prince of Darkness. . .Caroline Munro updates her career. . . Hugo-winning SF author Frederik 
Pohl relives the horrors of Chernobyl. . .William Campbell, better known as the Squire of Gothos and a 
Klingon named Koloth, points out "The Trouble with Tribbles." 

Meanwhile, next issue, the warning signs flash on. It's Silent Running. And Bruce Dern, one of 
Hollywood's tough guys, recalls life beyond The Outer Limits and the savagery of a World Gone Wild. 

That, of course, isn't ail. Soon, it will be time to talk tough— with other hard-bitten heroes on hand to do 
just that. . .or to make you pay. For all the pleasant (and unexpected) surprises, hang tough for STARLOG 
#125, on sale Tuesday, November 3, 1987. 

98 STARLOG/Nove/nte/- 1987 


(196 pgs. awesome views of 
other planets and distant 


4 \ 


(96 pgs. stop-motion, miniatures 
model animation, blueprints) 


(96 pgs. matte painting, effects 
make-up and animation, more) 


(96 pgs. Inigh-tech effects, com- 
puter animation, robot cameras, 


(96 pgs. backstage at IRON, 



REE BOOK of your choice! 

Fbr a Ifmited time, you can order any number of 

at 20% off the regular price (postage re- 
mains the same, naturaiiy), and if your order comes to $50.00 
or more (not including postage) pick out another book of 
your choice, and get it absoluteli 




(96 pgs. includes glasses, 3-D 
movies, comics, tiistory ^h 
techniques) ^^| 


(34 pgs. 100 photos, every craft 
up to 1977) 


(96 pgs. beautiful, mysterious, 
visual imagination in 200 photos) 


(34 pgs. robots, ray guns, action 
figures, collectables galore) 


(34 pgs. the worst of the evil- (96 pgs. every robot, good or 

doers, complete bios and photos) bad, from movies & TV shows) 


(96 pgs. Enlarged edition, latest 
ships, new designs) 



(96 pgs. 12 series incl. TZ, 1999, 
etc. ) 


(34 pgs. from handguns to 
Deathstar, including blueprints) 


(34 pgs. all your favorites, their 
stories, costumes, etc.) 


(96 pgs. every creature from 
other worlds, over 200 photos) 



Photo Guidebooks 


3-0 $11.95 

.SPACESHIPS II . . . S8.95 

(new enlarged edition) 

GUIDES, Vol. II... $8.95 

ALIENS $7.95 


WORLDS $8.95 

ROBOTS $7.95 


Vol. I $«-95 

Vol II *».»i 

Vol III $«.»5 

Vol. IV $9.95 

Add Postage lor Above 
_3rd Class SI. 75 

_1st Class $2.00 

.Foreign Air $3.00 

Available at Waldenbrooks, B. Dalton and otfier fine book stores, 
or order directly, using tfiis coupon. 

HEROES $3.95 


SPACESHIPS I . . . $2.95 

WEAPONS $3.95 

. $8.95 

Add Postage for Above ' 

_3rd Class . 

1st Class 

Foreign Air ... . 

Add Postag* 
to Your Order 

SI .75 

Regular Edition . . 
Deluxe Sllpcase 

Edition $13.00 

Add Postage for Above 
U.S. Book Rate. . . $2.50 
U.S. Priority 

.Reg. Edition $3.00 

.Deluxe Ed $3.80 

Foreign Air 

Reg. Edition . . $7.50 

.Deluxe Ed. . $9.00 

Send cash, 
check or money 
order to: 


475 Park Avenue South 
NewYork, NY 10016 






BOOKS (r»8U'«r prices:) $ 


BOOKS (discount price):* $ 

Add postage: $ 


'If this amount comes to S50.00 or mof«, pick out 

ono book as your FREE gift: 

NVS rasldants add salas tax 


NOTE: Please allow 4 to 6 weeks for delivery ol 3rd Class Mail. First Class 
delivery usually takes 2 to 3 weeks. 

Only U.S., Australia and New Zealand funds accepted. Dealers: Inquire for 
wholesale rates on Photo Guidebooks. NOTE: Dont want to cut coupon? 
Write order on separate piece of paper. 





STAR TREK: The Omdal F, 
officially licensed by ParanHM 
Corporation, with members in over 2 
countries, across six continents, is rapi. 
expanding its universe in search of new v 
members. The Official STAR TREK Fan ' 
Club .Magazine, the fan club's bi-monthly 
publication. Ls reaching out to STAR TREK ^ 
fans, old and neu- alike, keeping them ' 

up-to-date on STAR TREK I and STAR 
new television series premiering this fall. 
Besides our fiill coverage on the new STAR 
TREK productions, the new expanded, full- 
color STAR TREK magazine has intervie — 
with the .stars o( STAR TREK I and .STl., . _ 
with past STAR TREK guest stars, and '■ 

behind-the-scenes interviews with the creative 
people behind the camera. Regular features in ; 
the magazine include: letters from our readers. ; 
convention listings, book re\iews and Star 
Treksi our exclusive column fi-om the ParamoQ 
STAR TREK Office, which tells where our fav^ 
actors are and what they're up to throughout <| 
year. For fans interested in the .scientificj 
aspects of STAR TREK there is Explorations, i 
in-depth articles on subjects ranging from .spa 
colonization to medical advances to the po.ssm 
of intelligent life on other planets. The Officii 
STAR TREK Fan Club Magazine is known * 
throughout the STAR TREK unKerse for its * 
quality in both content and design. 

STAR TREK: The Offldal Ean Club aiso hasaf 
mail .service, includes ads for ofiicially-licensed? 
TREK, and spon.sors nationwide 
conte.sts awarding fabulous trips and prizes alon 
with a galaxy of to keep yoiynvoh'ed s 
interested all year long. M 

Let the "official .source. " STAR TRmi The Omdal^ 
Fan Club be your lifeline to the STAR TREK 
unKersc. JOIN TOD.«' — ifs the logical thing to do! 

YES! I want to join the continuing adventure, Star Trek: The Official Fan 
Club, and receive the Official Star Trek Magazine for one year! 

Enclosed is a check or money order for $. 

(U.S. dollars only, 1 year membership — $15.00-U.S., $17.00-Canada, $25.00 Foreign) 
Charge to my: D Visa D MasterCard 

Account Number: 

Card Expires: 


Name (Please Print): 



Make checks payable and send to: Star Trek: The OffidalFan Club, 
P.O. Box 111000, Aurora, Colorado 80011, U.SA 

Copyright ®1987 Paramount Pictures Corporation. AJI Rights Reserved. Star Trek is a Registered 
Trademar1< of Paramount Pictures Corporation.